Historical Memorabilia

A Second World War British trench periscope in case, by H.G.P. dated 1945. In original case. Prism housing marked: PERISCOPE No 14A MK III X 10 Ø 4° H.G.P. 1945 REGd No 8960 O.S. G.A. Each section of body stamped: 141 Length of periscope: 42 cm. Length of handle: 31 cm. Leather lens cap, and detachable sun shade...

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...

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...

A rare 8" by 10" signed photograph of The Beatles Signed in 1965 and gifted to a crew member on their film 'Help!' The Beatles are the biggest-sell...

A rare and historic programme signed by the Civil Rights leader Martin Luther King Jr. Georgia-born preacher Martin Luther King Jr (1929 - 1968) was the de facto leader of the Ameri...

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...

Jewish tin charity box, New York, USA, circa 1950. Inscribed on the front and on the back "Brother and sister in Israel" and "It feels wonderful to be a b...

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

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...

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...

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 (...

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...

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...

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

Original US film poster for Sergio Leone's Classic Spaghetti Western staring Clint Eastwood.

Original Japanese film poster for Ingmar Bergmans 1966 drama. This is one of the very best looking posters on this title.           

British route sign on fabric, ready to hang. Highlighting: Wallace Arnold, excursion express, private, racing on tour, Barnard castle.