Political and Patriotic Memorabilia

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...

45 STAR ANTIQUE AMERICAN FLAG WITH STAGGERED ROWS OF STARS ON A DUSTY BLUE CANTON; REFLECTS THE PERIOD WHEN UTAH WAS THE MOST RECENT STATE TO JOIN THE UNION, 1890-1896 Utah became t...

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...

"Very rare antique 18th century wood walking stick, staff or cane once owned by General Joe Hooker. Engraved silver band reads Gen. Joe Hooker. Measure: 35". A history of the cane is included which reads: “This cane was given to Chaplain Earnshaw by the family of General Joseph Hooker, who commanded the English Forces at the Battle of Chancellorsville (which he lost.) The shaft of the cane was made from the “poop” of the vessel of John Paul Jones. The handle was made from the horn of a buffalo that General Grant shot. General Hooker died with the cane in his hands as he walked down stairs. Two battles later which ended in Gettysburg, the Norths cause was settled. General grant was put in command.” Province Estate of J. Frederic Gagel, owner of multiple Thoroughbred race horses that competed in the Narragansett Special and Kentucky Derby. Their family heritage was strongly intertwined with the military having officers in battles dating back to the American Revolution. John Paul Jones (born John Paul; July 6, 1747 – July 18, 1792) was a Scottish-American naval captain who was the United States' first well-known naval commander in the American Revolutionary War. He made many friends among U.S political elites (including John Hancock[1] and Benjamin Franklin[2]) as well as enemies (who accused him of piracy), and his actions in British waters during the Revolution earned him an international reputation that persists to this day. As such, he is sometimes referred to as the ""Father of the American Navy"" (a nickname he shares with John Barry and John Adams[3]). Jones Jones was born and raised in Scotland, became a sailor at the age of thirteen, and served as commander of several merchantmen. After having killed one of his mutinous crew members with a sword, he fled to the Colony of Virginia and around 1775 joined the newly founded Continental Navy in their fight against the Kingdom of Great Britain in the American Revolutionary War. He commanded U.S. Navy ships stationed in France, led one failed assault on Britain, and several attacks on British merchant ships. Left without a command in 1787, he joined the Imperial Russian Navy and obtained the rank of rear admiral. Hooker “Joseph Hooker (November 13, 1814 – October 31, 1879) was an American Civil War officer / general for the Union, chiefly remembered for his decisive defeat by Confederate General Robert E. Lee at the Battle of Chancellorsville in 1863. Hooker had served in the Seminole Wars and the Mexican–American War, receiving three brevet promotions, before resigning from the Army. At the start of the Civil War, he joined the Union side as a brigadier general, distinguishing himself at Williamsburg, Antietam and Fredericksburg, after which he was given command of the Army of the Potomac...

OUTSTANDING, 13 STAR, ANTIQUE AMERICAN PRIVATE YACHT ENSIGN WITH GREAT FOLK QUALITIES THAT INCLUDE AN UNUSUALLY WIDE ANCHOR AND A DECIDEDLY LOPSIDED RING OF 13 STARS; MADE DURING THE 2ND HALF OF THE 19TH CENTURY; ITS DEVICE HAND-SEWN AND SINGLE-APPLIQUÉD Private yacht ensigns were approved American signals for maritime use that allowed pleasure boats to bypass customs. Though the legislation that approved them was adopted prior to 1850, almost all such flags that one will encounter were sewn by electric machine and made during the 20th century. The unusual gems among surviving examples are those that are earlier and include hand-sewn elements. Even more rare are a select few with atypical graphics. Barely any fall into both of these categories at once. Take note of the anchor on this particular flag, wide a long horizontal crossbar (stock) that contributes to uncommonly wide stance. Set within a ring of stars that is decidedly lopsided, the result is as bold as it is endearingly whimsical—two of the best qualities in American folk art, a category in which this particular example can be filed. While I have owned 13 star private yacht flags that have displayed star and canted anchor devices that were somewhat larger and/or bolder than typical, I cannot recall any that were so graphically intriguing as this one. Brief History of Private Yacht Ensigns: The medallion configuration, 13-star, 13-stripe flag, with a canted center anchor was entered into official use in 1848, following an act of Congress, that made it the official signal for U.S. pleasure sailing vessels. The need for such a flag arose with the popularity of boating as a pastime for well-to-do Americans, and as a competitive sport, in addition to its longstanding utilitarian role as a vehicle of trade. In early America, all boats were subject to customs searches at every port. Without modern income tax, the federal government derived its revenues mostly from tariffs, so an accounting of foreign goods on ships was a critical venture. As yachting for pleasure became more prevalent, however, more and more time was spent searching boats that had no such inventory, wasting time for both customs officials and wealthy ship owners. John Cox Stevens, a former president of the Jockey Club and future founder of the Union League Club, became the New York Yacht Club’s Commodore upon its founding in 1845. In 1847 he approached the secretary of the treasury and suggested that something be done to streamline the customs process for non-trade vessels. In 1848, legislation passed Congress requiring registration of these boats, which could then fly the “American Yachting Signal” to bypass customs. This remained on the books until the 1980’s, when the 1848 legislation was revoked, but the use of flags in this design for decorative function continues to this day. 13 star flags have been flown throughout our nation’s history for a variety of purposes. In addition to their use on private yachts, they were hoisted at patriotic events, including Lafayette’s final visit in 1824-25, the celebration of the nation’s centennial 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. The U.S. Navy used the 13 star count on small boats until 1916, because it was easier to discern fewer stars at a distance on a small flag. Commercial flag-makers mirrored this practice and some private ships flew 13 star flags during the same period as the Navy. Construction: The stars and anchor are made of cotton, hand-sewn, and 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 of the flag. 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. For these reasons, single-appliquéd stars often appeal to connoisseurs of early American textiles...

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 WITH "DANCING" OR "TUMBLING" ORIENTATION, ON AN ANTIQUE AMERICAN FLAG WITH EXTRAORDINARY COLORS, PRESS-DYED ON WOOL BUNTING, LIKELY PRODUCED FOR USE AS MILITARY CAMP COLORS,...

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...

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,...

43 GILT-PAINTED STARS ON A SILK, ANTIQUE AMERICAN FLAG WITH BULLION FRINGE; REFLECTS THE ADDITION OF IDAHO AS THE 43RD STATE ON JULY 3RD, 1890, ONE OF THE RAREST STAR COUNTS AMONG SURVIVING AMERICAN FLAGS OF THE 19TH CENTURY Numerous flags appeared with unofficial star counts in early America, some of them produced by flag-makers in large quantity in anticipation of the addition of more states. Interestingly enough, other flags were officially adopted by the United States Congress, but for all practical purposes were never produced. Among these is the 43 star flag...

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...

38 STAR ANTIQUE AMERICAN FLAG WITH HAND-SEWN STARS IN AN 8-7-8-7-8 PATTERN OF JUSTIFIED ROWS, MADE IN THE PERIOD WHEN COLORADO WAS THE MOST RECENT STATE TO JOIN THE UNION, 1876-1889 ...

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...

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...

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...

38 HAND-SEWN STARS IN A "NOTCHED" PATTERN, ON AN ANTIQUE AMERICAN FLAG WITH BEAUTIFUL WEAR FROM HAVING BEEN EXTENSIVELY FLOWN, MADE AT THE TIME WHEN COLORADO WAS THE MOST RECENT STATE TO JOIN THE UNION, 1876-1889 38 star Antique American flag, made during the period when Colorado was the most recent state to join the Union. The stars are arranged in what is known as a "notched" pattern, in which two spaces were left open along the hoist end, in the first and last rows, in anticipation that two more Western Territories would soon join the Union. The latter 19th century was a time of when much of the land in and about the Continental Divide was formalized into states, and there was continual speculation about which ones would be accepted next, and with what boundaries. The stars of the flag are made of cotton and are double-appliquéd (applied to both sides) with a lineal, treadle stitch. The canton and stripes of the flag are made of wool bunting that has been pieced with treadle stitching. The canton was constructed from five separate lengths of fabric, which is an unusual feature, though hardly unknown. To each of these a row of stars was sewn. This manner of construction is sometimes encountered and tends to be an early trait, at least when it occurs in flags of this scale and smaller. When encountered, it also seems to have been preferred in flags meant for maritime use. While the feature does not by any means guarantee this fact, it is a reasonable, educated guess, based upon my examination of many other examples. A flag with a 5-piece canton, such as this, would have been less likelihood to stretch, with increased structural integrity. The alternative is that this was simply an example made when there were at least five pieces of leftover fabric, of a reasonable size to made individual rows, and that what it actually demonstrates is the careful conservation of scarce resources. There is a sailcloth canvas binding along the hoist, with 3 brass grommets, evenly spaced. Perhaps the best feature of the flag is the evidence it displays of having been extensively flown, with the fly end whipped out from wind exposure. While many flags display damage from a combination of having been flown, exposure to the elements, various mishaps, and improper storage, very few exhibit wear such as this, which is both endearingly and visually attractive. This one shows its age beautifully, whipped out along the fly end, with losses that convey an element of movement, that most flags don’t capture in the state in which they survive. 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...

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...

“Visit To Camp,” an extraordinarily rare card game by mclaughlin brothers of new york, circa 1871. This extremely rare card game, designed with Civil War context, was made by McLoughlin Brothers in New York City. The set includes 12 (complete) chromolithographed, character playing cards, and 68 (out of 72) object cards, with various accoutrements. All of the above are housed in a wooden storage box with a slide lid and a chromolithographed, paper label. Played in an ad-lib, story-telling format, the characters include the Colonel, the Captain, the Zouave soldier with red pantaloons, the Rifleman, the Artilleryman, the Riding Master, the Musician, the Ferrier, the Surgeon, the Sapper (engineer), the Sutler (cook), and the Vi Vandeer (a woman who takes care of the troops). Each character was originally linked to 6 objects, which were to be produced by players on demand during a spoken reading of the game’s convoluted story-line. There are actually 69 cards included here, one of which is an object card for “the Chinaman.” Since the card matches the style exactly in printing, shape, and scale, and since there was no Chinaman in this game, I presume that the card must have once accompanied another McLaughlin ad-lib deck. The instructions (reproduced, in scale) list 13 possible players, with the 13th acting as narrator. I could locate only 3 other copies of this extremely rare game, all of which included 12 cards. McLoughlin Brothers is said to have pioneered the systematic use of color printing technologies in children’s books. The publishing firm opened in 1820 and was active until 1920, when it was sold to Milton Bradley. During the early years, the product line included toys in addition to books, among which were games, blocks, and paper dolls. Artwork from famous illustrators such as Thomas Nast, William Momberger, Ida Waugh” (Laura Wasowicz), Justin Howard, and Palmer Cox...

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...

8-Foot commission pennant with 13 stars, a unique example in my experience, likely produced for display on a private vessel, made circa 1892-1910. 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...

Antique American flag with 13 hand-sewn stars in an extremely rare lineal configuration of 5-3-5, probably made with the intent of use by local militia or private outfitting of a vol...

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...

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...

Presented is a very rare, 41-star flag waver celebrating Montana statehood. The flag is printed on linen and dates to 1889. The dark blue canton is printed with forty one stars in nine rows of alternating counts of five and four stars. Thirteen red and white stripes complete the flag’s design. The history of Montana statehood is a long one. Numerous Native American tribes originally inhabited the Montana Territory. Meriwether Lewis, William Clark, and the members of their expedition were the first explorers to document a journey through Montana and the lands of the Louisiana Purchase. Soon, forts were established to facilitate regular fur trading with Native American tribes. Missionaries and trailblazers followed. The discovery of gold in the early 1860s sped the creation of the Montana Territory. As settlers and gold prospectors entered Montana in the 1860s and 1870s, conflicts with the Native Americans arose. Perhaps the most famous clash between Native Americans and the United States military occurred in Montana on June 25, 1876. On that day, Sioux and Cheyenne defeated Lieutenant Colonel George Armstrong Custer‘s 7th United States Cavalry regiment at the Battle of the Little Bighorn. A year later, Nez Percé Chief Joseph surrendered in the Bear Paw Mountains of Montana. Lured by copper in the 1880s, mining brought even more settlers to Montana. Rich grazing lands for cattle and sheep attracted other pioneers. Each of the states in America, with the exception of the original thirteen, Texas, and California, was first organized as a territory before achieving admittance to the Union as a state. Originating with the Ordinances of 1785 and 1787, the territorial system provided the expanding U.S. with a method to govern frontier areas until they gained sufficient population and economic maturity to qualify for statehood. Not surprisingly, residents of frontier territories usually demanded quick admission to statehood so they could gain full control of their local governments. Montana was a territory for 25 years – from the creation of Montana Territory in 1864 until the territory was admitted to statehood in 1889. On November 2, 1889, North and South Dakota were added to the Union as the 39th and 40th states, the first time in history that two states were admitted on the same day. Montana became the 41st state on November 8, predating Washington, the 42nd state, by only three days. Flag makers were not in the business of making out-of-date flags. As a result of these rapid changes in the number of states, only a small number of 41-star flags or commemorative items were ever produced, thereby making any 41-star flag exceedingly rare. CONDITION: Good condition. This flag is printed, with a hemmed headband and fly end in a running stitch...

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...

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...

A framed group of two related English Royal items Including a King Charles II 'Charles R' signature in black ink on laid paper or vellum and a James...

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...

13 hand sewn stars in a circular version of what is known as the 3rd Maryland pattern, with an especially large center star, a flag with especially tiny scale among those with pieced-and-sewn construction, exceptionally rare, made circa 1890: 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 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 the 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. Any American flag that has previously been official remains so according to the flag acts, so it remains perfectly acceptable to fly 13 star flags today by way of congressional law. 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. Some of these are more rare and desirable than others. The stars of this particular flag are arranged in what has come to be known as the "3rd Maryland Pattern." This configuration, whether oval or circular, is appreciated both for its visual appeal and the scarcity of its use. a circular wreath of 12 with a single star in the center. The name comes from a flag that resides at the Maryland State Capitol in Annapolis, long thought to have been present with General Daniel Morgan at the Battle of Cowpens in 1781. According to legend, the flag was supposed to have been carried by Color Sergeant William Batchelor of the 3rd Maryland Light Infantry and was donated to the State of Maryland by Batchelor's descendants. The story was disproved in the 1970's, however, following an examination by the late flag expert Grace Rogers Cooper of the Smithsonian, who discovered that the Cowpens flag was, at the earliest, of Mexican War...

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...

36 Stars In The "Great Star" Or "Great Luminary" Pattern On A Civil War Era Flag With A Dusty Blue Canton And A Section Of One Stripe Souvenired, 1864-67, Nevada Statehood 36 star American national flag of the Civil War era, entirely hand-sewn and with some rare and beautiful features. The stars are arranged in a rendition of what is known as the Great Star or Great Luminary configuration, a large star made out of smaller stars. With no official star pattern before 1912, their design was left up to the artistic liberties of the flag-maker. Strikingly visual, the Great Star is both scarce and coveted by collectors. The 36th state, Nevada, entered the Union during the Civil War on October 31st, 1864. The last Confederate general surrendered on May 26th, 1865. The 36 star flag became official on July 4th of that year, but makers of printed flags would have begun adding a 36th star to their flags in 1864, even before the addition of the new state occurred. Lincoln pushed Nevada through just 8 days before the November election. Nevada’s wealth in silver was attractive to a nation struggling with the debts of war and increased support for the Republican ticket. The 36 star flag was replaced by the 37 star flag in 1867, with the addition of Nebraska. Adding to the flag's appeal is its small scale across those with of piece-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 were approximately six by six and-one-half feet, about the size of an average quilt of the same period. As time passed, circumstances changed and sewn flags began to find more of a decorative purpose. Smaller flags are more scarce and far easier to frame and display. The Great Star configuration appears to have come about shortly after the War of 1812, when Congressman Peter Wendover of New York requested that Captain Samuel Reid, a War of 1812 naval hero, create a new design that would become the third official format of the Stars & Stripes. A recipient of the Congressional Medal of Honor, Reid became harbor master of New York following the war. During his lifetime, he created many innovations in signal use, including a system that could actually send messages from New York to New Orleans by sea in just two hours. Use as a Naval signal had been the primary reason for the initial creation of an American national flag in 1777, but since there was no official star design, the appearance of our flag varied greatly. Reid’s primary concern centered on both consistency and ease of recognition. His hope was as more and more states joined the Union and more and more stars were added to the flag, that it would remain easily identified on the open seas. In 1818, Reid suggested to Congress that the number of stripes permanently return to 13 (reduced from 15) and that the stars be grouped into the shape of one large star. Reid’s proposal would have kept the star constellation in roughly the same format, in a pattern that could be quickly identified through a spyglass as the number of states grew. His concept for the stripes was ultimately accepted, but his advice on the star pattern was rejected by President James Monroe, due to the increased cost of arranging the stars in what would become known as the “Great Star”, “Great Flower”, or “Great Luminary” pattern. Monroe probably didn’t wish to impose this cost on either the government or civilians, so he suggested a simple pattern of justified rows. Never-the-less, the Great Star was produced by anyone willing to make it and its rarity today, along with its beauty, has driven the desirability of American flags with this configuration. The canton and stripes of the flag are made of fine merino wool. Note how the canton has faded to a dusty seafoam blue, which is endearingly attractive. The stars of the flag are hand-sewn and 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 of the flag. 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, which is one reason why flags with single-appliquéd stars often appeal to connoisseurs of early American textiles...

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...

36 STARS IN THE "GREAT STAR" OR "GREAT LUMINARY" PATTERN, ON A MERINO WOOL FLAG OF THE CIVIL WAR ERA WITH BEAUTIFUL SCARLET AND ROYAL BLUE COLOR AND WITH ITS CANTON RESTING ON THE "WAR STRIPE," REFLECTS NEVADA STATEHOOD, 1864-67 36 star antique American flag of the Civil War era, with some rare, desirable, and beautiful features. The most obvious of these is the configuration of the stars. These are arranged in what is known as the “Great Star” or "Great Luminary" pattern, a star made out of stars, which is one of the most graphic and desired geometric designs among flag enthusiasts. Nevada entered the Union as the 36th state on October 31st, Halloween, in 1864. Ushered in by Abraham Lincoln just eight days before the presidential election that resulted in his second term, the territory’s wealth in silver was attractive to a nation struggling with the debts of war and so increased support for the Republican ticket. The 36th star was officially added on July 4th, 1865, but since the flag makers generally cared very little about official star counts, the production of 36 star flags began much earlier. The makers of printed flags are known to have begun adding the 36th star as early as July of 1864, several months before the addition of Nevada actually occurred. This was a common practice during the late 19th century and is reflective of both the nation's desire for Westward Expansion and the hope of flag-makers to bring new star counts to market before their competitors. The 36 star flag was officially replaced by the 37 star flag in 1867, following the addition of Nebraska. Great Stars come in many forms. This particular example has a single center star, surrounded by a pentagon of 5 stars, set inside its star-shaped perimeter. Note how the Great Star is positioned with two points up instead of one and so is effectively upside-down with respect to modern convention. Unlike the current flag, versions of the Stars & Stripes made during the 19th century and prior often displayed stars that were varied or completely random in their rotation on a vertical axis. Note how the feature draws attention and is unusual to the eye, in addition to being visually appealing. Another interesting trait can be seen in the fact that the canton rests on a red stripe. When this scarce condition occurs, some flag historians have referred to it as the “blood stripe” or the “war stripe”, suggesting the flag was constructed in this manner when the nation was at war. In actuality, the placement probably occurred more often by accident. Not everyone knew where the canton was traditionally positioned, and because there was no official specification until 1912, there was no official placement. Whatever the case may be with regarding the reason, the war stripe feature is highly coveted by collectors. The stars of the flag are hand-sewn, made of cotton, and are double-appliquéd (applied to both sides). The canton and stripes of the flag are made of fine merino wool. These are beautiful, luxurious fabrics with strong royal blue and scarlet color. Every seam was joined with a row of hand-stitching, then finished with a row of treadle stitching. Instead of employing the selvage edge of the red fabric, the top and bottom edges of the flag were turned under and seamed by hand and the fly end was seamed in the same fashion. There is a narrow binding along the hoist, treadle-sewn and made of cotton. Along this five cotton tabs were affixed, each with a tiny brass ring, which suggests that the flag was probably affixed to a wooden staff with twine or ribbon and hand-carried. The name of "Stow" is inscribed along the hoist. This would be the name of a former owner. In the field of early American flags...

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

This is a printed silk handkerchief from the interwar period, with an Italian aviation theme. This handkerchief features four early aircraft plane models, two of which are seaplanes. The inner field of the handkerchief is pale blue and contained by a black three-line waving border. The outer field is medium blue, with a darker blue at each corner. A white and black fasces rests in each corner. The center of the silk features a golden spread-wing eagle. Above the eagle’s head floats a gold crown. The eagle’s talons grip a shield printed with the Savoy arms, a white cross on a red field. Two gold fasces adorn either side of the shield. In most historical accounts of the early days of military aviation, our reverence for the activities of the American Expeditionary Force and its French and British companions-in-arms on the western front has led us to overlook the immense Italian contribution to the formation of airpower doctrine. The first aerial force projection occurred on Nov. 1, 1911, when Lt. Giulio Gravotta, flying a German-built monoplane, dropped one bomb on Zard and another on Taciura -- in Libya -- during the Italian-Turkish War. This event occurred just a little more than a year after the first flight of an Italian-designed and built aircraft. At about the same time, Gianni Caproni, a young Italian engineer with a passion for innovation and a vast admiration for the Wright brothers, built his first flying machine. By May 23, 1915, the day Italy entered World War I, Caproni had become Italy's leading aircraft designer and manufacturer. Caprooni designed and built a multi-engine bomber with range and bomb capacities to make it a potent offensive weapon. On Aug. 20, 1915, two of these Caproni three-engine bombers attacked the Aisovizza aerodrome with explosive and incendiary bombs, a preview of the most sustained, effective air offensive of the First World War. By early 1916, regular raids against Austro-Hungarian targets were being conducted by seven squadrons of Caproni bombers, with some 540 bombing missions flown by the year's end. Missions were on the increase, both in distance to targets and number of aircraft involved. In late 1917, due to the lack of suitable training facilities in the United States, a contingent of some 500 Americans were sent to Foggia, Italy, to learn military flying. After completing their training, the new pilots were commissioned in the Army Air Service, and the majority of them were sent to France to serve with the American Expeditionary Force. About 75 remained in Italy under the command of Capt. Fiorello LaGuardia...

“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...

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...

13 LARGE STARS WITH AN EVEN LARGER CENTER STAR, IN A CIRCULAR VERSION OF WHAT IS KNOWN AS THE 3RD MARYLAND PATTERN, ENTIRELY HAND-SEWN, MADE SOMETIME BETWEEN 1850 AND THE CIVIL WAR (...

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-...

PATRIOTIC SILK KERCHIEF OF THE CIVIL WAR PERIOD, WITH AN ENGRAVED IMAGE OF GEORGE WASHINGTON, CROSSED 34 STAR FLAGS, AN EAGLE, AND "UNION FOREVER" SLOGAN: Patriotic kerchiefs that date prior to the 1876 Centennial of American Independence are rare among surviving 19th century textiles. Printed on silk and made during the opening years of the Civil War, this example consists of a white ground with red and blue borders. Inside is a prominent, copper engraved, device that consists of a large image of George Washington, crowned by a spread winged eagle that grasps a billowing streamer in its beak and talons. The ribbon boasts the Federal sentiment "Union Forever." The likeness of Washington is derived from Gilbert Stuart's Athenaeum portrait. Below this is a facsimile of Washington's signature, cradled by crossed American flags, each with 34 stars arranged in circular medallions. Although political textile historian Herbert Ridgway Collins associated this kerchief with the centennial of American independence,* there is overwhelming evidence that it was produced earlier. The large scale is much more indicative of kerchiefs produced in the 1860's and prior. Made of silk, the binding is hand-stitched, which is also common of those produced before 1876. When these facts are added to the pro-Union Civil War slogan and flags in the 34 star count, the combination of all these factors points firmly to Civil War period manufacture. Kansas was admitted into the Union as the 34th state on January 29th, 1861, about two-and-a-half months before the Confederate assault on Fort Sumter that marked the beginning of the Civil War. The 34th star was officially added on July 4th of that year and the star count remained official until July 4th, 1863. Further evidence can be found in an example of this kerchief that resides in the collection of the Adams County, Pennsylvania Historical Society, with firm provenance to a woman by the name of Emma Yount. The story goes like this: “With the Battle of Gettysburg looming and the countryside in turmoil, the Union cavalry rode into Gettysburg on the afternoon of June 30, 1863. The troopers dismounted and lounged in the town while awaiting further orders. During that time, the seven year old daughter of innkeeper Israel Yount, Emma, was playing outside their home when a cavalryman asked her to come and visit with him while he was resting. The cavalryman told her that he missed his young daughter at home and asked if little Emma would hug and kiss him on the cheek to remind him of his daughter, who he felt he might not ever see again. Emma asked her mother if she could do as the cavalryman suggested, and her mother considered the circumstances and allowed Emma to do so. Before leaving, the cavalryman gave young Emma a silk handkerchief he was carrying that featured George Washington's image and patriotic border and flags. Emma kept that handkerchief until her death in 1946 and it was then donated to the Adams County Historical Society.” The trio of brass rings, hand-sewn along the top edge, would have been added by a former owner so that it could be hung vertically. The textile itself is both beautiful in design and rare. Outside of an example pictured by Collins in his book “Threads of History” (Smithsonian Press, 1979), and the copy in the Adams County Historical Society, only three others like it are known to have surfaced, including this example. This condition is excellent for the period and it survives as an exceptional relic of the War Between the States. It is of interest to note that kerchief bears marked similarities to another, especially rare, pro-Union variety, that was produced in London for the American market. Notably larger in scale, but very much alike in terms of the fabric, the printing, the shades of red and blue, the verbiage, and the general overall graphic feel, it was produced by Foster & Porter, a known, English maker of printed kerchiefs. Instead of featuring George Washington, the imagery centers on a large cannon...

EXCEPTIONAL PATRIOTIC SCHERENSCHNITTE (PAPER CUTTING), IN THE STYLE OFTEN ATTRIBUTED TO ISAAC STIEHLY, ENTITLED “LIBERTY,” WITH IMAGERY THAT INCLUDES AN AMERICAN EAGLE WITH A 14 STAR, 14 STRIPE FLAG IN ITS BEAK, A RATTLESNAKE, LOVE BIRDS, AND EAGLES ON URNS, CA 1830-1850 This exceptional patriotic scherenschnitte was executed in the style often attributed to Pennsylvania German minister Isaac Stiehly (1800-1869). Scholars now agree that one or more artists, working in New York, were producing their own work in a very similar style. Several examples are known that bear the names of New York and/or New Jersey residents, while two, in particular, include text that celebrates the 1844 New York mayoral election victory of publishing magnate James Harper [founder of what is now Harper Collins], who ran on a ticket sponsored by the American Republican Party, a nativist organization concerned with the loss of American jobs to Irish immigrants. Note the quality of the cutwork on this example, the centerpiece of which is a large American eagle, gripping a coiled rattlesnake and holding an American flag in its beak. Above, in a lozenge-shaped medallion, the word "Liberty" is executed in large script. To the left and right of this are elaborately decorated ovals, and anchoring each corner of the work are snowflake-like medallions. To each side of the eagle, and below, is a plethora of flora and fauna, the outermost pillars of which are supported by two urns, decorated with eagles. At the bottom center is a diamond within a heart, with two doves, one of which is offering the other a leaf. Above this there are appear to be crude representations of a gnome and a fairy flanking and urn decorated with another heart, from which grow the vines in the center window. Interlocking rings decorate the border, probably to represent marriage, and it can logically be presumed that the scherenschnitte was a wedding gift. It is of interest to note that the flag displays both 14 stars and 14 stripes. Although the reason for the use of this count is unknown, on the surface it does appear to be intentional. Other known patriotic scherenschnitte display flags with various star and stripe counts. Of those I have personally owned, the one bore 14 stars and 13 stripes, another 11 stars and 13 stripes, another displayed two flags, including a 12 star flag with 14 stripes and a 14 star jack (a blue naval flag with stars but no stripes), and another, also with 2 flags, displayed a 20 star flag...

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...

13 HAND-SEWN STARS, IN AN OVAL VERSION OF THE 3RD MARYLAND PATTERN, ON AN ANTIQUE AMERICAN FLAG MADE IN THE PERIOD BETWEEN THE CIVIL WAR (1861-65) AND THE 1876 CENTENNIAL OF AMERICAN...

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...