Cotton Folk Art

38 STARS IN A MEDALLION CONFIGURATION WITH 2 OUTLIERS, ON AN ANTIQUE AMERICAN FLAG WITH VIBRANT COLORATION, REFLECTS COLORADO STATEHOOD, 1876-1889, ILLUSTRATED IN “THE STARS & STRIPES: FABRIC OF THE AMERICAN SPIRIT” by RICHARD PIERCE, 2005 38 star American parade flag, printed on coarse, glazed cotton. The stars are arranged in a triple-wreath form of the medallion configuration, with a single center star and two stars flanking outside the basic pattern, toward the fly end. Most circular medallion patterns of this sort exhibit four flanking stars beyond the consecutive wreaths, one in each corner. The inclusion of only two was intentional, allowing for the easy addition of two more stars. Flag-makers knew that more Western Territories were soon to be added and eagerly anticipated their arrival. Use of fewer than four outliers was popular in 38 star parade flags, but is rarely encountered in other star counts. Note how the vibrant, chromatic luster of the orange stripes provides striking contrast with the blue canton, and how this contributes to the flag's beautiful presentation. Many parade flags in this star count have red stripes that lean heavily toward orange. This was common across printed flags produced between the 1850's and the 38 star period, phasing out in the last decade of the 19th century. Colorado became the 38th state on August 1st, 1876. This was the year of our nation’s 100-year anniversary of independence. 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 was the official star count for the American flag in 1876. Flag-making was a competitive venture, however, and few flag-makers would have been continuing to produce 37 star flags when their competitors were making 38’s. It is for this reason that 38 and 13 stars (to represent the original 13 colonies) are more often seen at the Centennial International Exposition, the six-month long World’s Fair held in Philadelphia in honor of the event. Some flag-makers would have been adding a star for the 38th state even before it entered the Union, in the early part of 1876 or even prior. In fact, many makers of parade flags were actually producing 39 star flags, in hopeful anticipation of the addition of two more Western Territories instead of one. But the 39th state would not join the Union for another 13 years, when the Dakota Territory entered as two states on the same day. The 38 star flag generally fell from use at that time, though it technically remained official until July 3rd, 1890. President Ulysses S. Grant was in office when the first 38 star flags would have appeared. The list of presidents serving during the period when the 38 star flag was actually official, include Rutherford B. Hayes, James Garfield...

42 STARS ON AN ANTIQUE AMERICAN FLAG WITH SCATTERED STAR POSITIONING, REFLECTS THE ADDITION OF WASHINGTON STATE, MONTANA, AND THE DAKOTAS, NEVER AN OFFICIAL STAR COUNT, circa 1889-18...

44 STAR ANTIQUE AMERICAN FLAG WITH AN HOURGLASS FORMATION ON A BRILLIANT BLUE CANTON; REFLECTS THE ERA WHEN WYOMING WAS THE MOST RECENT STATE TO JOIN THE UNION, 1890-1896 44 star Am...

36 STAR ANTIQUE AMERICAN PARADE FLAG, WITH STARS THAT ALTERNATE IN THEIR VERTICAL POSITION FROM COLUMN TO COLUMN AND ROW-TO-ROW, PRINTED ON AN ESPECIALLY INTERESTING LENGTH OF COARSE...

34 STARS IN A MEDALLION CONFIGURATION ON AN ANTIQUE AMERICAN PARADE FLAG WITH A LARGE, HALOED CENTER STAR; CIVIL WAR PERIOD, KANSAS STATEHOOD, 1861-1863 34 star American national pa...

44 STAR ANTIQUE AMERICAN PARADE FLAG WITH A TRIPLE WREATH FORM OF THE MEDALLION CONFIGURATION, RARE IN THIS PERIOD WITH A CIRCULAR STAR ARRANGEMENT, 1890-1896, REFLECTS THE ADDITION OF WYOMING TO THE UNION 44 star American parade flag, printed on plain weave cotton. The stars are arranged in a circular medallion configuration that consists of three consecutive wreaths of stars, with a single star in the very center and a flanking star in each corner of the blue canton, outside the primary pattern. Variations of this beautiful and desirable arrangement are seen primarily in flags made between the Civil War (1861-65) and the nation’s centennial (1876). While there remained no official star configuration until 1912, flag makers basically abandoned circular, star-shaped, and other, dynamic, non-linear designs after the 38 star era (1876-1889). Examples with greater than that star count are rarely encountered. Note how this particular, orderly, circular arrangement, in such a large star count is somewhat reminiscent of a clear summer night sky, filled with stars. Also note that the canton is square, as opposed to rectangular, and how the proportions of the flag itself are somewhat more squarish than usual. Together these traits provide additional, visual peculiarities that impact to this great example of 19th century flag-making. It is interesting to note that I discovered a period image of this particular variety of parade flag, in an early postcard, made to advertise the Betsy Ross House in Philadelphia, which had, in 1898, been opened to the public as a museum. A photo of the front of the house shows two of these flags, affixed to staffs, propped at opposite angles in the front window. While perhaps difficult for the casual observer to identify, connoisseurs of printed flags may recognize their scale and iconic design. The postcard is hand-dated 1905. Wyoming became the 44th state on July 10th, 1890. Even though the 44 star flag was not official until July 4th, 1891, most flag-makers would have begun to add a 44th star to their flags as soon as Wyoming declared statehood, or perhaps even before the state was actually added. Because flag-making was a competitive venture, flag-makers did not want to be producing 43 star flags...

13 STARS IN THE BETSY ROSS PATTERN, WITH 45 STARS ON THE REVERSE; ON AN ANTIQUE AMERICAN FLAG MADE AND SIGNED BY A PREVIOUSLY UNIDENTIFIED FLAG-MAKER, ANNIE MAC LACHLAN OF JERSEY CI...

CIVIL WAR PERIOD APRON, MADE IN CAMBRIDGE, OHIO IN 1861 BY 12-YEAR-OLD LAURA HAYNES, WORN BY HER AT BENEFITS FOR THE U.S. SANITARY COMMISSION, PREDECESSOR OF THE RED CROSS, THAT STAFFED, FUNDED, AND MODERNIZED CIVIL WAR HOSPITALS Laura Haynes was born on the 17th of June, 1847 to Vincent and Sarah (Dillon) Haynes of Westland, Ohio (southeast of Columbus and due south of Zanesville). Vincent was listed as a physician in the 1850 U.S. Census, then as a lawyer in 1860, apparently having pursued both fields. It stands to reason that that during the Civil War (1861-1865), the Haynes family, being of means and with Vincent involved in the medical profession, might become involved in philanthropy to benefit Civil War hospitals. Made of plain weave cotton, this patriotic apron features 18 white, appliquéd, hand-sewn stars on a blue ground, cinched at the waist, with a blue belt incorporated below, followed by 13 vertical stripes, alternating red and white, likewise cinched, so that top and bottom have opposing triangular profiles. Aprons of this period did not generally have a loop or tie that went about the neck, to keep the breast portion up, but were rather pinned in place. All of the construction was accomplished by hand-stitching. One can see in the more crude stitching of the stars, how much more difficult it was to perform appliqué work than it was to hem fabric, especially for a 12-year-old girl. While the count of 18 stars may have had no purpose other than to fill the available space, to create a patriotic display, it may just as likely have been selected to reflect the number of states that were felt to be loyal to the Union at the time. Until July 4th, 1861, there were officially 33 stars on the American national flag. This, less the entire complement of 15 Slave States, would arrive at a count of 18. President Abraham Lincoln urged the nation not to do this, desiring not to give credence to secession, with his goal of keeping the Union together. But there were no flag police and people did as they wished, creating versions of the Stars & Stripes in both the North and the South that removed those the respective maker(s) deemed loyal to the opposition. Although rare, a number of American flags of the Civil War era are known that display 18 stars, likely to reflect the removal of 15 Southern States. In the upper center of the striped portion of the apron is a fraternal ribbon, made of blue satin silk, with a white metal brooch at the top and a gold button with an eagle below. This is decorated with a printed 13 star flag ribbon (applied), and with gilded text that reads: “The Women and Girl Workers of the Civil War; ’61-’65.” Next to this is the membership badge of the Women’s Relief Corp, which served as the women’s auxiliary of the Grand Army of the Republic, the primary organization for Civil War veterans. Below these, a hand-lettered exhibition tag was adhered, that reads as follows: “Made in 1861 at Cambridge Ohio by Laura Haynes; Age 12 Years; and Worn at Benefits for the Sanitary Commission [The Red Cross of 1861-5],” Followed by “Laura H. Green; Hotel St Mark; Oakland Calf.” Along the bottom of the tag is a brief title: “Flag-Apron of 1861-5,” with a circled item number “27.” The Sanitary Commission was founded in the Spring of 1861 by private citizens in New York City, who were appalled by the Army’s lack of medical supplies and sanitary conditions in the care of Civil War soldiers. Officially sanctioned by the War Department on June 9th of that year, and approved by Abraham Lincoln on June 13th, the chief planner and organizer was Boston-born writer and Harvard-educated clergyman, Henry Whitney Bellows of New York (b. 1814, d. 1882). Bellows modeled the organization after the work of Florence Nightingale in the British Sanitary Commission of the 1850’s, and brought with him a force of volunteers belonging to an organization he led called the Woman’s Central Association of Relief of New York. In 1863, Bellows would become one of the four founders of the Union League Club of New York, with fellow Sanitary Commission leaders Frederick Law Olmsted (the designer of Central Park, considered to be the father of modern landscape architecture,) plus George Templeton Strong (American composer, painter, lawyer, and prolific diarist), and Oliver Wolcott Gibbs (Harvard professor, chemist, and physician). The goal of the Union League Club was to join like-minded and influential, moneyed men with the cause of both the Commission and the Union in general. In 1881, Sanitary Commission nurse Clara Barton would carry the torch forward, expanding upon the concept to form the Red Cross. Sanitary Fairs—large, fundraising events held to benefit the Commission—were held in New York, Philadelphia, Baltimore, Chicago, St. Louis, and elsewhere. The Northern Ohio Sanitary Fair was almost certainly attended by Laura Haynes, 16 years old by that time, who is likely to have worn the apron there. Held in Cleveland from Feb. 22nd – Mar. 10th, 1864, the fair was opened by Major General James Garfield, future President of the United States, who, it is said, was extremely well received. About 3 years later, on June 11th, 1868, Laura married Robert M. Green of Cambridge, Ohio (northeast of Westland), who shared her June 17th birthday. Born 2 years prior to Laura, in 1846, Robert enlisted as a Corporal with “A” company of the 85th Ohio Infantry, a 3-month unit, on May 27th, 1862. Mustering in on June 10th, I Columbus, at Camp Chase, the 85th was assigned to guard Confederate prisoners at the garrison. He mustered out on the 23rd of September. By 1880, Robert & Laura Green had relocated to Oroville, California (Butte County...

"VOTES FOR WOMEN" PENNANT WITH AN IMAGE OF A 1911 STATUETTE CALLED "SUFFRAGIST" BY ELLA BUCHANNAN, MADE FOR CARRIE CHAPMAN CATT'S "WOMAN SUFFRAGE PARTY" OF NEW YORK CITY, CA 1912-20 ...

45 STAR ANTIQUE AMERICAN PARADE FLAG WITH ITS STARS ARRANGED IN A NOTCHED PATTERN, 1896-1908, UTAH STATEHOOD 45 star American national flag, printed on coarse, glazed cotton. Eviden...

34 STARS IN 4 ROWS WITH 2 STARS OFFSET AT THE HOIST END, ON AN ANTIQUE AMERICAN FLAG LIKELY PRODUCED FOR MILITARY FUNCTION, AS UNION ARMY CAMP COLORS; ONE OF JUST A TINY HANDFUL THAT I HAVE ENCOUNTERED IN THIS EXACT STYLE, REFLECTS KANSAS STATEHOOD, OPENING TWO YEARS OF THE CIVIL WAR...

34 STAR ANTIQUE AMERICAN FLAG OF THE CIVIL WAR PERIOD (1861-63), IN A TINY SCALE AMONG PIECED-AND-SEWN FLAGS OF THE PERIOD, WITH A TRIPLE-WREATH CONFIGURATION, AN ELONGATED FORMAT, AND ENTIRELY HAND-SEWN; FOUND WITH A LETTER FROM JOHN W. RUDE OF THE 2ND KENTUCKY VETERAN VOLUNTEER CAVALRY (UNION): 34 star flag of the Civil War period with a variety of extremely desirable features, handed down with a letter written by John W. Rude on November 8th, 1864, while encamped with the Army’s 1st Brigade, 3rd Division, as a member of the 2nd Regiment of Veteran Volunteer Cavalry. Tiny in scale among pieced and sewn examples, the flag displays a star pattern that consists of a three consecutive wreaths, with a single star in the very center. Because it lacks a single star in each corner, outside the basic pattern—usually present in flags of this design made during the mid-late 19th century—this is something I classify as a “snowball medallion.” Entirely hand-sewn throughout, note the square format of the blue canton, with its beautiful, circular star arrangement, and how interesting this combination is when paired with the elongated format of the flag itself. The stars are double-appliqued, meaning that they are applied to both sides. These are fat in shape and inconsistent in size. Note how the lowest star in the outermost ring actually dips into the white stripe below. Made of plain weave cotton, there is a narrow binding along the hoist, red in color, with three sets of cotton ties. Those at the top and bottom are made of fine, braided hemp or hemp and cotton cord, stitched into place, while the one in the center, looped around the binding and tied, is made of lightweight, twisted, cotton thread. Note how the 5th, 6th, and 7th red stripes are pieced from two lengths of cotton fabric, which reflects that the maker was being conscious of conserving available fabric. In the 19th century, most flags with pieced and sewn construction were 8 feet long and larger. A six-footer was considered small. Even military battle flags, carried on foot, measured 6’ x 6.5’, which translates into approximately 7’ x 7.5’ after framing, about the size of an average quilt and larger than can comfortably fit on a wall in a house with 8-foot ceilings and average width baseboard. Flags smaller than this exist, but the smaller they get, the more unusual they are. At just 1.5’ x 3’, this is about as small as one will ever encounter in a sewn flag of the Civil War era. The flag appears to have likely been hand-carried. I expect that it probably saw military use of some sort as a camp flag...

Vintage indian quilt called « kantha » Traditional technique of block print Very Nice bed cover or spray Unique pièce

Vintage indian quilt called « kantha » Traditional technique of block print Very Nice bed cover or spray Unique pièce

38 CANTED STARS IN STAGGERED ROWS, ON A CLAMP-DYED, WOOL, ANTIQUE AMERICAN FLAG MADE BY THE HORSTMANN BROTHERS IN PHILADELPHIA, ALMOST CERTAINLY FOR DISPLAY AT THE 1876 CENTENNIAL EXPOSITION; A VERY RARE EXAMPLE WITH STRONG COLORS AND GREAT TEXTURE; REFLECTS COLORADO STATEHOOD 38 star American flag, press-dyed on wool bunting, with wonderful texture and great colors. Made by Horstmann Brothers of Philadelphia, a major military outfitter, the flag is signed along the hoist with a black stencil. The stars of the flag are arranged in lineal rows of 8-7-8-7-8. Note how these are universally canted, with one point directed at roughly 11:00, when the flag is viewed on the obverse (front). This particular style of flag, from Horstmann, is exceedingly rare. Measuring approximately two by three feet, I know of just four examples in total, including this flag, all of which I have had the great privilege to own. The first two I acquired about 20 years ago. I was not yet taking digital imagery at the time, and cannot seem to locate them among my files of hard copy prints and negatives. I believe they displayed in the same configuration of staggered rows. The example that I owned more recently bore the staggered row layout, but had exceedingly crude printing, whimsical and interesting in its own right. All, I believe, have displayed their stars slightly canted at an angle, like the flag that is the subject of this narrative. A close variation that I acquired about 11 or 12 years ago also had canted stars. It was in the same scale and shared the same 8-7-8-7-8 distribution, but the rows were not staggered. Instead these were justified toward the fly end. Because the spacing was inconsistent, the resulting formation was not what one might expect, with perfect spaces for two additional stars along the hoist end (a “notched” pattern). Horstman flags made of press-dyed wool sometimes had formal bindings, sometimes had a length of fabric tape stitched along the hoist, and sometimes had no binding at all. This one has a traditional binding, made of heavy cotton twill, in the form of an open sleeve, treadle-sewn along the hoist. Near the top of this, “2 x 3 Ft.” appears in a black inked stencil, near the top, accompanied by “Horstmann. Phila.” Near the bottom. Colorado became the 38th state on August 1st, 1876. This was the year of our nation’s 100-year anniversary of independence. 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 was the official star count for the American flag in 1876. 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. It is for this reason that 38 and 13 stars (to represent the original 13 colonies) are more often seen at the Centennial Expo. Some flag-makers would have been adding a star for the 38th state even before it entered the Union, in the early part of 1876 or even prior. In fact, many makers of parade flags were actually producing 39 star flags, in hopeful anticipation of the addition of two more Western Territories instead of one. But the 39th state would not join the Union for another 13 years, when the Dakota Territory entered as two states on the same day. The 38 star flag became official on July 4th, 1877 and was generally used until the addition of the Dakotas in 1889. Press-dyed wool flags are scarcer than those printed on cotton and silk. Because parade flags were often intended for one day's use at a parade, political rally, a reunion of soldiers, or some other patriotic event, most were made of cotton. While cotton absorbs water, short-term use precluded the need for anything more hardy. Because the Centennial Exposition lasted for a period of six months, it required decorative flags that would sustain being flown for a longer time and withstand the elements. It is reasonable to assume that press-dyed wool flags were adapted for precisely this purpose, because wool sheds water is suitable for extended outdoor use. Previous to this time they primarily saw military function. A Brief History of the Horstmann Company: William H. Horstmann (1785-1850) was the founder of what would become a major military outfitter in both Philadelphia and New York City. A solider and fourth generation passementier (textile weaver), he emigrated to the United States from Germany in 1816 and settled in the Germantown area of Philadelphia, where there was a significant concentration of textile manufacture. There he married the daughter of the most successful lace manufacturing firm, and started his own business in coach lace and military goods at the corner of 59 North 3rd Street. He imported looms from Germany and elsewhere and maintained a regular trade with his family in Europe. The company grew exponentially in size and had many addresses over its years of operation. In 1828, the William H. Horstmann Military Store opened. In 1843 it became William H. Horstmann & Sons Military Store, and in 1859 it was taken over by sons, Sigmund H. and William J., and began to operate as Horstmann Bros. & Co. The company manufactured its own goods, including flags, swords, drums, insignia, and many other items, and it subcontracted their manufacture as well, depending on financial sensibility. There were investors along the way, such as William S. Hassall and George Evans, who broke off and began their own large and successful firm. The New York branch changed its name in 1877 to that of a Horstmann partner, H.V. Allien. Both Philadelphia and New York branches filed for bankruptcy and closed in 1948. Because of its Philadelphia location, Horstmann was in a unique position to supply flags and banners to the 1876 Centennial International Exposition, and thus served an integral role in decorating the enormous, six-month long event. It is logical to presume that this extremely interesting and rare flag...

39 STARS IN TWO SIZES, ALTERNATING FROM ONE COLUMN TO THE NEXT, ON AN ANTIQUE AMERICAN PARADE FLAG DATING TO THE 1876 CENTENNIAL, NEVER AN OFFICIAL STAR COUNT,...

ENTIRELY HAND-SEWN ANTIQUE AMERICAN FLAG OF THE CIVIL WAR ERA, WITH 13 SINGLE-APPLIQUÉD STARS IN A 3-2-3-2-3 CONFIGURATION, IN A GREAT, SMALL SCALE AMONG ITS COUNTERPARTS, PROBABLY MADE IN NEW YORK CITY, SIGNED “GRÜNFILD” 13 star flags have been flown throughout our nation’s history for a variety of purposes. They were hoisted at patriotic events, including Lafayette’s final visit in 1824-25, the celebration of the centennial of American independence in 1876, and the sesquicentennial in 1926. They were displayed during the Civil War, to reference past struggles for American liberty and victory over oppression, and were used by 19th century politicians while campaigning for the same reason. As the number of stars grew with the addition of new states, it became more and more difficult to fit their full complement on a small flag. The stars would, by necessity, have to become smaller, which made it more and more difficult to view them from a distance as individual objects. The fear was that too many of them close together would become as one white mass and distort the ability to identify American ships on the open seas. Keeping the count low allowed for better visibility. For this reason the U.S. Navy flew 13 star flags on small boats. Some private ship owners mirrored this practice and flew 13 star flags during the same period as the Navy. Flag experts disagree about precisely when the Navy began to revert to 13 stars and other low counts. Some feel that the use of 13 star flags never stopped, which seems to be supported by depictions of ships in period artwork. This was, of course, the original number of stars on the first American national flag, by way of the First Flag Act of 1777, and equal to the number of original colonies that became states. Since there was no official star configuration until the 20th century (1912 specifically, beginning with the 48 star count), the stars on 13 star flags may appear in any one of a host of configurations. Made during the Civil War era, or shortly thereafter, the stars of this particular 13 star flag are arranged in a 3-2-3-2-3 pattern of lineal rows. This configuration appears to have been adopted by the Navy sometime toward war’s end, probably between 1864 and 1865. Afterwards it becomes the most common design across all known styles, for the balance of the 19th century through the first quarter of the 20th. Entirely hand-sewn, the stripes and canton of the flag are made of wool bunting. Note in particular the square profile of the canton, which makes it visually different from modern flags. The stars are made of cotton and are single-appliquéd. This means that they were applied to one side of the canton, then the blue fabric was cut from behind each star, folded over, and under-hemmed, so that one star could be viewed on both sides. I always find single-appliquéd stars more interesting, not only because they are evidence of a more difficult level of seam-work and stitching, but also because they are more visually intriguing. The two visible rows of hand-stitching emphasize their hand-sewn construction. This is one reason why single-appliquéd stars appeal to connoisseurs of early American textiles. While some flag enthusiasts have pointed to this as a means of conserving fabric, not having to cut and sew another star to the opposite side, others suggest that the real purpose was to make the flag lighter in weight. I believe it to have been a byproduct of both objectives. A length of faded, red, herringbone, twill cotton tape was stitched along the hoist end for reinforcement, in lieu of a more formal binding. To this, six lengths of cotton knit shoelace were added (one now absent) as a means of affixing the flag to a staff. This is generally the accepted method for a flag that is to be hand-carried. The cloth tape and ties both add substantially to the flag’s visual presentation. The name “Grünfild” was at some point hand-inscribed beneath the canton. It was common to mark flags in this fashion, during the 19th and early 20th centuries, to indicate ownership. An unusual name in America at this time, I believe that this likely belonged to the only man by this name that is recording as having served during the Civil War. Born around 1843, Morris Grünfild [a.k.a. Grünfield / Greenfield / Grünfildt] emigrated to the United States from Eastern Europe in 1854. A merchant tailor, who I believe may have been of Russian Jewish descent, he records himself as having been born in “Poland / Rus,” but may have moved to Austria in the interim, before traveling to the States. In May of 1861, Grünfild enlisted with the 31st New York Volunteer Infantry, at the rank of Private, in New York City, and was assigned to “C” Company. He served two years, mustering out in New York on June 4th, 1863. Around 1877, Grünfild joined Frank Head Post #16 of the New York State Grand Army of the Republic. The GAR was the primary veteran’s organization for the Union Army. He married a Russian woman from Philadelphia, had many children, and continued to work as a tailor into the 20th century, possibly selling both his services and clothes. Presuming that it was this Morris Grünfild who owned and marked the flag, it is hard to be sure just how he came into possession of it. The construction is actually typical of flags produced in New York, during this time frame and after, by the Annin Company. Known for single-appliqued stars, and for hand-sewing the stripes of smaller flags in particular, as well as for simply producing more, small, sewn flags than their competitors, the flag closely approximates signed, Annin-made examples that I have previously owned. It may, of course, be that Grünfild acquired the necessary bunting at the wharf and sewed the flag in the same fashion as Annin, but I don’t think so. I do, however, believe that it was he who added the herringbone tape and shoelace ties to a flag probably of Annin manufacture. It’s possible that the 31st NY Regiment used the flag as a flank marker or as camp colors. Though a little large in scale for either when compared to military regulations, the flag is small enough to have served effectively in either function. This unit appears not to have turned any colors in to the state at the war’s end, so likely they were taken home. The role that Grünfild played as a private in C Company is unknown. As a tailor, it’s conceivable that he may have played a role in the care or upkeep of flags, but no further information is available. The 31st NY was a very active unit. Recruited from Williamsburg (just over the Brooklyn Bridge) and Manhattan, it had several nicknames, including the “Montezuma Regiment,” “Baxter Light...

38 STAR ANTIQUE AMERICAN PARADE FLAG WITH JUSTIFIED ROWS OF 7-6-6-6-6-7 AND SCATTERED STAR ORIENTATION, MADE DURING THE PERIOD WHEN COLORADO WAS THE MOST RECENT STATE TO JOIN THE UNION, 1876-1889 38 star American national parade flag, printed on coarse cotton, possibly with flax content. One of the flag’s most interesting features is the wild sweep of the grain of the fabric, the warp and weft of which are anything but perpendicular. The stars are arranged in justified rows of 7-6-6-6-6-7. This results in a secondary pattern that I commonly call a “box-in-a-box-in-a-box”, because of the way in which the seemingly haphazard arrangement creates three consecutive squares. Note how the stars point in various directions on their vertical axis, which adds a nice element of folk quality to the overall design. Most parade flags in this star count have red stripes that lean heavily toward orange, with a vibrant, chromatic luster. This was common across printed flags produced between the 1850's and the 38 star period, phasing out in the last decade of the 19th century. Also note how the wear and patina contribute to an endearing presentation that displays its long-term use gracefully. Colorado became the 38th state on August 1st, 1876. This was the year of our nation’s 100-year anniversary of independence. 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 was the official star count for the American flag in 1876. In the latter 19th century, it became common to add stars before the respective state(s) had even entered the Union. No one cared what was official, not even the military, where the matter of practicality with regard to flags always seems to have outweighed regulations. In the private sector, commercial flag-making was a competitive venture. Few flag-makers continued to produce 37 star flags when their competitors had jumped the star count to 38. It is for this reason that 38 and 13 stars (to represent the original 13 colonies) are more often seen at the Centennial International Exposition, the six-month long World’s Fair, held in Philadelphia, that served as the nucleus of the national celebration. Some makers of printed parade flags actually began to produce 39 star flags in 1876, in hopeful anticipation of the addition of two more Western Territories instead of one. The 39th state would not join the Union for another 13 years, however, when the Dakota Territory—thought to be coming as a single state—entered as two separate states on November 2nd, 1889. The 38 star flag generally fell out of production at that time, though it technically remained official until July 3rd, 1890. President Ulysses S. Grant was in office when the first 38 star flags would have appeared. The list of presidents that served during the period when the 38 star flag was official include Rutherford B. Hayes, James Garfield...

34 STAR ANTIQUE AMERICAN FLAG OF THE CIVIL WAR PERIOD (1861-63), WITH WOVEN STRIPES, PRESS-DYED STARS, AND BEAUTIFUL COLORS, POSSIBLY MADE IN NEW YORK BY THE ANNIN COMPANY, REFLECTS THE ADDITION OF KANSAS TO THE UNION, 1861-1863 34 star flag of the Civil War period, with a press-dyed canton and woven stripes. Made of a fabric produced frame a combination of wool and cotton fibers, the 34 star count was achieved in an unusual fashion, beginning with a press-dyed field of 32 star...

36 STAR ANTIQUE AMERICAN PARADE FLAG WITH CANTED STARS IN DANCING ROWS, ON A BEAUTIFUL, CORNFLOWER BLUE CANTON; CIVIL WAR ERA, NEVADA STATEHOOD, 1864-1867 36 star antique American f...

13 STARS IN THE BETSY ROSS PATTERN, ON A VINTAGE AMERICAN FLAG, MADE BY THE ANNIN COMPANY OF NEW YORK & NEW JERSEY, circa 1955 - 1965 13 star American national flag, made entirely of cotton by the Annin Company of New York & New Jersey, in the period between approximately 1955-1965. The stars are arranged in the circular wreath pattern most often associated with Betsy Ross. Flags in this design are widely admired, due to the longstanding popularity of the Ross family myth. While many Americans were taught in grammar school that this was what our first flag looked like, there is, unfortunately, no way to substantiate the claim, and no colonial flags...

USA, 1890s ‘Jacob’s Ladder’ antique patchwork quilt. Measures: H 200 x W 200 cm.

USA, 1870s ‘Double nine Patch’ antique quilt. Measures: H 238 x W 228 cm.

MEXICAN NATIONAL FLAG IN THE DESIGN USED BY REVOLUTIONARIES FROM 1917 - 1934, THE FIRST PERIOD IN WHICH THE EAGLE WAS ILLUSTRATED IN SIDE VIEW; MADE OF GABARDINE WOOL AND WOOL BUNTING, WITH RICH COLORS AND A HAND-PAINTED DEVICE, USED IN THE LATTER YEARS OF THE ERA OF PONCHO VILLA (b. 1878, d. 1923) Flag of Mexico, in the design adopted in 1917 by the revolutionary government, in use until a re-design of the seal took place in 1934. This covered part of the principal era of Francisco "Poncho" Villa. The field is comprised of the expected vertical bars of green, white, and red, with the charge on the white bar. This is the first period in which the device consisted of an eagle in side view, instead of with breast forward. Perched on a rock that protrudes from a body of water, with prickly pear cactus growing outward and upward from each side, the war-like bird grips a rattlesnake in its proper right talon and beak. The image is cradled within an open wreath of oak and laurel branches, tied with a bow at their juncture, in the bottom center. The bow is striped with the national colors. One year before this flag was accepted, in 1916, U.S. President Woodrow Wilson sent General John Pershing to capture Poncho Villa, whose loyalty shifted as he attempted to gain power. The chase ended abruptly in 1917, when the U.S. entered WWI (U.S. involvement 1917-1918). It was in this year that the U.S. recognized the Carranza government of Mexican Revolutionaries...

33 STARS IN A DOUBLE-WREATH CONFIGURATION, ON AN ANTIQUE AMERICAN FLAG DATING IMMEDIATELY PRE-CIVIL WAR THROUGH THE WAR'S OPENING YEAR, REFLECTS THE ADDITION OF OREGON TO THE UNION, 1859-1861 33 star American national parade flag, printed on coarse, glazed cotton. The stars are arranged in a double wreath pattern with a large center star and 4 flanking corner stars. Note how the arms of the stars have an exaggerated length and thus bear a very interesting folk quality. This is one of my favorite early parade examples because of the great visual impact in its design. Oregon entered the Union as the 33rd state on February 14th (Valentines Day), 1859. The 33 star flag...

This fine Ohio Amish mounted crib quilt is sewn on linen and on a stretcher frame. This fine Holmes County,Ohio crib quilt is in amazing colors and in pristine condition.It is most ...

44 STAR ANTIQUE AMERICAN FLAG WITH AN HOURGLASS FORMATION OF STARS IN CANTED ROWS, AND AN EXTREMELY INTERESTING PRESENTATION FROM REPEATING SWATHS OF HEAVY OXIDATION, WYOMING STATEHO...

Unique, hand-painted banner with the seal of the state of mississippi, likely having represented delegates from that state at the 1872 republican or dem...

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 fla...

Rare, large scale Kerchief with a beautifully engraved image of John Trumbull’s “declaration of independence,” likely made in...

Antique American Flag with 10-pointed stars that spell “1776 – 1876”, Made for the 100-Year Anniversary Of American Independence,one of the most graphic of all early examples. Man...

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...

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...

13 star antique American flag in the Betsy Ross pattern, one of just three examples that I have encountered that pre-date the 1890’s; an extraordinary find, civil war period (1861-1865) or just after, extremely large among its counterparts of all periods in this design: Exceptional, early, American national flag, with 13 stars arranged in the circular wreath pattern most often attributed to Betsy Ross. Since there was no official configuration for the stars of the American flag until 1912, when our nation received its 47th and 48th states, the design, before that time, was left to the whims of the maker. This led to an almost unimaginable spectrum of star arrangements on the American flag during the 18th and 19th centuries. Even within the 13 star count, alone, there are at least 80 known patterns—more than the average person would even think possible. 13 star flags have been made throughout American history, from at least June 14th, 1777, when the first Flag Act was passed by Congress, until the present. They have been continuously produced for reasons both patriotic and utilitarian. Because this was the original number of stars on the American flag, representing the 13 colonies, it was appropriate for any device made in conjunction with celebrations or notions of American independence. 13 star flags were thus displayed at patriotic events, including, but certainly not limited to, such occasions as Lafayette’s final visit, in 1825-26, the nation’s centennial in 1876, and longstanding celebrations of Independence Day. From at least 1840 onward, 13 star flags were produced for presidential campaigns, drawing a parallel between the past and present struggles for freedom, and were carried by soldiers, during the Mexican and Civil Wars, for the same purpose. Throughout history, and even today, they are boldly displayed at every presidential inauguration. 13 star flags were flown by American ships both private and federal. The U.S. Navy used 13 stars on the ensigns made for small boats, because they wished the stars to be more easily discernable at a distance. Private ships often copied Navy practice, and when commercial flag makers first began to produce flags with pieced-and-sewn construction, in small sizes, in large quantity, they frequently employed the 13 star count. Flags in the Betsy Ross design are widely admired, due to the longstanding popularity of the Ross family myth. While many Americans learned in grammar school that Betsy Ross made and designed our first flag, and that the stars appeared in a circular fashion, there is, unfortunately, no way to prove the claim. No colonial examples have survived with this pattern of stars. In fact, while arranging the stars in a single circle seems quite logical, among the various choices that might come to mind, early American flags with this star pattern are curiously absent. One of the interesting misconceptions about 13 star flags is that the Betsy Ross pattern, even if not the original design, must have been common in early America. Logic would suggest this, given the frequency with which it appears in modern times, but this isn’t actually the case. In fact, the pattern is seldom encountered anywhere until much later. In more than 30 years of buying and selling early Americana, and over 20 years of extensive focus on the American flag specifically, through aggressively buying, researching, evaluating, restoring, and curating exhibitions, I have thus far encountered just three examples of Betsy Ross pattern flags that I can confidently date prior to the 1890's. No one knows what the first flag looked like. While there is no precise reason that the Betsy Ross design could not have been the first, one of the best arguments against it, is illustrated by the simple fact that so many 13 star flags exist without it. If the Ross configuration was the original, it stands to reason that the pattern would have been reproduced with at least some degree of frequency. Research conducted by the National Museum of American History notes that the story of Betsy Ross making the very first American flag for General George Washington, in the company of George Ross and Robert Morris, entered into American consciousness about the time of the 1876 centennial. The tale was immensely popular among an American public eager for stories about the Revolution and its heroes. The first documentation of it appeared shortly beforehand, in 1870, in a paper written by Betsy’s grandson, William Canby, for the Pennsylvania Historical Society. At the time, Canby made no mention of how the flag was designed, save for the fact that it had 5-pointed stars, per his grandmother’s suggestion. Because no earlier documentation supports the story, most flag scholars feel it was a grand hoax, fabricated by Canby for his own interests. Nothing survives in the collective writings of the three men, for example, nor in records of their words and deeds, which are fairly extensive. As with most things, reality is perhaps somewhere in the middle ground, with some of the details based on fact and some on fiction, made up, misinterpreted, or imagined from family accounts. The first time that a star configuration gets attached to the Ross story appears to have occurred during the last decade of the 19th century. In 1892, Charles Weisgerber painted a nine-by-twelve-foot rendition of the fabled meeting between Betsy and George Washington, in which there is a flag with a circular wreath. Shortly afterwards, in 1898, Betsy’s granddaughter and great-granddaughter began to make flags in the East Wing of Independence Hall in Philadelphia, selling them to tourists while disseminating the family folk tale. In that same year, Weisgerber and a “group of concerned citizens” sought to preserve Betsy’s former Philadelphia residence at 239 Arch Street, where she lived at the time the flag would have been sewed. Weisgerber moved his family into the house and immediately opened to the public the room in which Betsy was said to have worked her magic. Ten-cent memberships were sold to fund renovations and donors received a small calendar, to which a cotton 13 star Betsy Ross pattern parade flag was affixed. The effects of these events caused the Ross legend to stick and the story, with the corresponding flag design, has appeared ever since in more places than one could ever hope to count. The stars of this particular flag are made of cotton, hand-sewn, and double-appliquéd (applied to both sides). The canton and stripes of the flag are made of wool bunting that has been pieced and joined with treadle stitching. There is a sailcloth canvas binding along the hoist, with two brass grommets, one each at the extreme top and bottom. Along this, on the obverse, near the bottom, are two, unusual characters, embroidered with brown thread. These may be letter “I’s,” possibly forming a the Roman Numeral “II.” They are followed by an inscription, in blue ink, that appears to read “A. N. Smith.” The first character is stylized, and may alternatively be a “D,” “H,” or perhaps a “J.” Note how the binding is extended beyond the top and bottom-most points. Though quite unusual, this is sometimes encountered in early examples. The folding of the wool bunting back onto itself, with the binding stitched so that part of the fold is exposed, tends to be an early characteristic. Common in Civil war flags...

Both the pattern and use of solid colors make this Pots of Flowers as exuberant as they come. Large groups of flowers coming out of small flower pots gi...

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...

Large, swallow tailed, suffragette pennant in a black & orange color combination unique to this example, with applied lettering that reads "Votes for Women” down a wide, central stri...

This finely quilted and appliquéd quilt is dated 1876 in quilting and has the initials EG. Abutting hearts in the center are a lovely design but the stars they form makes it even mo...

This 45-star United States flag celebrates the statehood of Utah. 45-star flags served as the official American flag from 1896-1908. The flag is printed on muslin and was flown as a ...

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...

Red and blue princess feather pattern quilt with interspersed oak leaves and a sawtooth border. Made circa 1870-1885, this stunningly visual textile is highly unusual due to its dark blue ground and red elements. Most all early quilts...

These large Amish denim rag balls used to make braided rugs. Fantastic country look of four rag balls.

EXTRAORDINARILY RARE, YELLOW & WHITE, SUFFRAGE PARASOL / UMBRELLA, WITH “VOTES FOR WOMEN” TEXT, DISTRIBUTED BY THE NATIONAL AMERICAN WOMEN’S SUFFRAGE ASSOCIATION UNDER ANNA HOWARD SHAW’S LEADERSHIP [HEADQUARTERED IN NEW YORK], CIRCA 1913-1915: In the world of Suffrage memorabilia, parasols and umbrellas are known to have been produced, but hardly any exist. Made in both Britain and America, most of the organizations known to have commissioned them did so with white or purple, green, and white, utilizing the traditional British colors. In America, some of these can be identified to the Women’s Political Union of New York, New Jersey, and Connecticut. As for those in the traditional American colors of golden yellow and white, typically with black text, examples are known to have been produced and sold by the National American Women’s Suffrage Association (NAWSA), beginning in the summer of 1913. According to author and expert Ken Florey, the organization peddled them for “one dollar each or ten dollars a dozen…[promoting] them as good for advertising the cause at street meetings, summer resorts, and county fairs. The design consisted of yellow and white in alternate sections, with “Votes for Women” in the white sections.” Florey goes on to explain how some umbrellas in this style are known with names of states hand-painted in the yellow panels. I am aware of Oregon and Idaho. Florey also indicates that one is known for Alaska. His discussion of the subject, and an illustration of the Idaho example, appear in his book, "Women's Suffrage Memorabilia" (2013, McFarland & Co., North Carolina), on pp. 192 and A8, respectively. The Oregon example, which have seen and held first-hand, is illustrated in "The Keynoter: Journal of the American Political Items Conservators," Summer/Fall/Winter 2008 (Women's Suffrage Special Triple Issue), Vol. 2008, No. 2-4, p. 110. In “Woman Suffrage Memorabilia,” Florey describes a heavy demand for parade accoutrements in the 19-teens. Despite the supposed numbers in which these yellow and white umbrellas were likely to have been produced, this is the only example that I am aware has actually surfaced with the “Votes for Women” text only and no state names. This makes it far more universally desirable. A period image survives in the Albert R. Stone Negative Collection, Rochester Museum & Science Center (Rochester, New York,) of a women carrying parasols in this style on Main Street West in that city on August 15, 1914. The marchers, masked, were described as wearing yellow dominoes (nun-style dresses) and carrying yellow parasols. According to museum catalogers, “The outside parasols are plain; those on the inside have the inscription, "Votes for women". The first group, in yellow and blue dominoes, advertised the speech and visit of Dr. Anna Howard Shaw [this would be members of the Empire Campaign Committee]. The second group carried placards with the names of equal suffrage states and the dates when they adopted votes for women. The Club Theatre, whose sign advertising "Burlesque" is clearly visible behind the marchers, occupies the premises at 75 Main Street West formerly occupied by the Shubert Theatre.” The National American Women’s Suffrage Association was formed in 1890. It represented a merging of the two largest Suffrage groups in America before that time. These were the National Woman Suffrage Association (NWSA), formed in 1869 by Susan B. Anthony and Elizabeth Cady Stanton, and the American Woman Suffrage Association (AWSA), also formed in 1869 by Lucy Stone and her Husband, Henry Brown Blackwell, Henry Ward Beecher, and others. Stone’s daughter, Alice Stone...

Winterberry pattern quilt with flying geese, in patriotic colors and with exceptional graphic impact, entirely hand-pieced and hand-quilted, circa 1860s-1870s Made approximately b...

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...

USA, Vintage Antique "Cross Roads" quilt with multiple colors and pink border. This crisp, sturdy cotton stars quilt is hand pieced and hand quilted with a variety of early mi...

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...

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...

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...

41 STARS IN A LINEAL PATTERN WITH OFFSET STARS THAT CREATE A CROSSHATCH IN THE CORNERS AND CENTER, ONE OF THE RAREST STAR COUNTS AMONG SURVIVING FLAGS OF THE 19TH CENTURY, REFLECTS MONTANA STATEHOOD IN NOVEMBER, 1889, ACCURATE FOR JUST 3 DAYS: Numerous flags appeared with unofficial star counts in early America, produced by flag-makers in anticipation of the addition of more states. The 41 star flag...

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-...

This a 36-star medallion American flag, with a magnificent and rare star pattern and campaign connection. 36 stars celebrate the addition of Nevada to the Union and officially flew f...

ELONGATED PENNANT MADE FOR THE 1912 PRESIDENTIAL CAMPAIGN OF THEODORE ROOSEVELT & HIRAM JOHNSON, WHEN THEY RAN ON THE INDEPENDENT, BULL MOOSE / PROGRESSIVE PARTY TICKET: Elongated,...

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...