American Historical Memorabilia

Seated figure with Thunderbird mask; carved yellow cedar, Thunderbird mask (eagle) depicted as head on a seated human body. Arms are dramatically open and outstretched. Large, richly detailed Thunderbird Mask, permanently attached with oblong eyes painted red, black and white. Edge decorated with dyed (red) spruce root as simulated mask harness over shoulders and across the chest. Dance apron; Seated figure wearing an apron of shredded cedar bark. Held on to figure at the waist with woven cedar string and abalone shell on button at back. Approximately 7" wide/long by 4" high. Bench; carved from cedar. Decorated on the back with bear face, outlined with inlaid red dyed spruce root. Ears, eyebrows and nose of inlaid abalone shell. Eyes of inlaid fossilized ivory...

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

Early designed beaded Nez Perce martingale. Constructed stroud applied to canvas with beaded panels of hourglass and diamond motifs. Split tab and brass bell suspensions. Stunning pi...

This striking wall map was published in 1854 by Ensign, Bridgman & Fanning and has both full original hand-coloring and original hardware. This impression is both informative and highly decorative. The states are divided into counties, outlined in red, green, and black, and subdivided into towns. Roads, canals, and railroad lines are prominently depicted, although they are not all labeled. The mapmakers also marked lighthouses, banks, churches, and prominent buildings, with a key at right. The map is an informative and comprehensive overview of the infrastructural development of New England prior to the Civil War. Physical geographies depicted include elevation, conveyed with hachure marks, rivers and lakes. The impression features an inset map of Boston...

Coeur d'Alene tribe moccasins with very thin hide and beadwork. Fawn or antelope. Simple classic design. Neat display - shows use. Period: Last half of the 19th century Origin: Coe...

This is a handsome collage of two signed and inscribed photographs of George H. W. Bush and Barbara Bush. Both photographs are inscribed to the same rec...

This is Helen Keller’s personal reading copy of The New Outlook for the Blind, December 1960, Volume 54, Number 10. The periodical is inscribed in the upp...

Oliver Hardy was an American comedian and actor, most famous for being one half of the popular comedy duo, Laurel and Hardy. One of the most popular comed...

This amazing piece of U.S. Naval history features signed items from all four World War II Navy Admirals to ever wear the five-star rank. All are cons...

This is a beautifully preserved WWII Navy aircraft carrier banner, emblazoned with a welcome for the ship's firemen. The banner is partially printed and has sewn elements. The flag's field is dyed a rich navy blue, with a resist dyed white stripe and a sewn red stripe at both top and bottom. A large "WELCOME" is resist dyed at center, in big white letters. This is followed by a sewn yellow strip of contrasting fabric, printed with the word "FIREMEN" in blue. Thirteen white stars complete the design of this patriotic piece of WWII and Navy history. The banner retains its original white hoist, with two metal grommets on each side, for ease in display on the ship. Along the center of the hoist is the printed name of "J.S. Sullivan." "Naugatuck, Conn." is printed along the left and the size "2 x3 FT" is printed along the right. The flag maker, Annin, has sewn in its label, boasting "guaranteed defiance fast colors." CONDITION: Very good condition, considering age and past use. Partially printed and hand-sewn flag construction. Some toning to the white of the flag and along the top hoist. Original grommets at left and right of the hoist. The flag measures 36" X 22". Expertly framed on black linen with an antiqued black wood...

- A touching handwritten love letter by one of the most legendary outlaws of the Old West, Frank James The letter, dated July 7, 1883, was written by James to his wife whilst he was in jail in Gallatin, Missouri. He was awaiting trial for murder and robbery of the Rock Island Line train at Winston, Missouri, in which the train engineer William Westfall and a passenger Frank McMillan were killed. Having spent a year in custody, James' trial began on August 20, and lasted just three days, before the jury returned a resounding verdict of 'not guilty'. The tender love letter reveals James to be both highly romantic and highly literate. Although he lived much of his life as a violent outlaw, he had been raised as a preacher's son surrounded by books, and during his youth developed a love for the works of Shakespeare. James was said to always carry a book in his saddle bag, even when he was on the run from the law, and he shared this passion for literature with Ann throughout their 40-year marriage. Here's the text in full: "My dear wife, "Your dear letter of the 1st was handed to me not exceeding an hour ago. It arrived here on the third, at least it is as marked. Now I sent foreword .. in this manner. There are very few men in this world that care anything for their wives, that they naturally suppose that all men are alike. "How badly they are deceived. If there is anything on this earth that is half as dear to me as my wife I have failed to find it. You are everything to me and the only living human being that has ever possessed my whole love, my entire confidence, the only one that ever will and I feel as that love and confidence will never be abused. "I have lived as I think to see all my fondest hopes realised. Long years ago I hoped and prayed that god would give me a true woman for my wife and i feel as if he has done so and anyone who has had a chance for happiness in this belief is more fortunate than the possessor of a thousand worlds. "I am trying to pass the time reading and writing - I regret that I am deprived of your beauty and I am writing to suffer that I have no visitors as told you in last. "Enclosed I send you an editorial from the trenchant pen of Rob M Yast that I think a grand effort. "I suppose you remember the circumstances of Jarvis shooting Englehart. Yast talks of love and forgiveness & Jarvis has shown that he possessed both - as also has Yast. He’s shown himself to be a true friend of me and mine. "Yast seems a man of most liberal whims. I dare say nine out of every ten would say that they would not forgive Jarvis for what he has done. Yet if it is the means of reclaiming ... I don't think he will ever regret it. "Regarding mamma, this may not be interesting to you but it has been to me. I had a letter from ma today, she feels disappointed as you did not visit... "I supposed it was useless to ask you again so will end further requests. I also had one further service. she also sends her kindness in regards to you and asked why you did not write. Please write her and let her know I will write Monday again. "When you write, write me care of Sherriff - I don’t think he will read them. "He has not opened any of my letters for a long time and if he should that would be better than not to get them so long after they’re written. I will kiss you both good night - write often your loving Ben/ f**k it is raining hard at this time." James autographs the letter as 'Ben', a protective alias that he used when writing to his loved ones. The single page letter, with text on both sides, measures 203 by 126mm, with fold creases and bleeding of ink in some sections. A remarkable piece of history, which offers a personal insight into one of the Old West's most legendary figures. About Frank James: Frank James (1843 – 1915) was a U.S Civil War Confederate guerrilla and notorious Old West outlaw. Together with his younger brother Jesse James...

One of the original ephemeral Pop Art events of the 1960s, Claes Oldenburg's "Gayety" happening, is documented with this rare poster advertisement, and including a mimeo list of deta...

- A Marilyn Monroe 1950 Autographed Magazine Cut-Out, attractively framed with UV-filtering archival glass Marilyn Monroe (1926-1962) is regarded as the most iconic female star th...

Lakota Sioux child's dress quilled on buffalo hide; collected and entered into the Maryland Academy of Art and Science prior to 1880. It was deaccessioned...

The Savannah Bank and Trust Company was established here in Savannah, Georgia in 1869 after several banks failed as a result of the Civil War. It first o...

This is a highly desirable hanging wall map of the "World at One View", published in 1847 by Ensign and Thayer, New York. This pictorial map was printed as a broadside and features...

Buffalo Bill's desk register used at the Irma Hotel, including a double inkwell, hotel bell, envelope holder, pen holder, two envelopes, baggage claim tag, ...

This 1966 nautical portrait is of the clipper ship "Sweepstakes". Originally intended as a menu cover for Pan Am Airlines, this piece has never been used and is in pristine condition...

A late 19th century cast iron elevator indicator panel from the famed Fisher Building designed and built by Daniel Burnham in 1896. The indicator de...

Pair of original printed photos by Harold E. Hatch (Born October/1886-Died November/1973). He worked around Danville, VT in the late 19th and early 20th c. His photos were contact pr...

48 star flag is made from a vintage oil cloth sewn on vintage linen. The frame is a custom made frame on each. Each Measures 14 x 17.5. If anyone would li...

By Andrew Ellicott (1754-1820) and Pierre Charles L'Enfant (1754-1825). Plan of the City of Washington. Published by Thackara & Vallance, Philadelphia, 1792. Later impression printed on 19th century wove paper. This is a fine 19th century printing of the "official" plan of Washington, D.C. First printed in 1792 by the original publishers, Thackara & Vallance in Philadelphia, this is a later 19th century printing of the fifth recorded engraving of the L’Enfant / Ellicott city plan. The first three issues of this city plan were in published in periodicals, making the fifth edition only the second separately-issued engraving of the plan. In full, the title reads, “Plan of the City of Washington in the Territory of Columbia, ceded by the States of Virginia and Maryland to the United States of America and by them established as the Seat of their Government after the year 1800.” The national capital city is laid out according to a plan originally proposed by Pierre Charles L'Enfant and modified by Andrew Ellicott. L'Enfant was born in Paris, where he trained to be an architect. He came to America in 1777, and served under George Washington as an engineer during the Revolutionary War. In 1791, Washington asked L'Enfant to design the new capital city in the District of Columbia. However, trouble arose between the city and L'Enfant. The City Commissioner needed a finished, printed copy of the plan in order to sell building lots but L'Enfant worked slowly and released only incomplete plans, and proved to be quite obstinate. On instruction from President Washington...

Oil on canvas portrait entitled:Mr. Bowles of Kentucky, painted by Benoni Irwin (1840-1896) an American portraitist born in new market, Ontario, Canada. He moved to New York as a you...

Fully-entitled: Army of the Potomac. The Wagon Trains of the Army of the Potomac en Route from Chickahominy to James River VA. During the Seven...

A large original vintage historical builders photo of the Brighton Beach railroad bridge at Neptune Ave. Hand lettering on the mat are the names of the ...

"Pocahontas Saving The Life of Captain John Smith" is a chromo-lithograph made by the "New Eng. Chromo Lith. Co. Boston" (printed on the lower left border). It is dated 1870...

Framed series of American modern pen and ink drawings, sixteen portraits of Boston "pols" and Italian American civic leaders, all of whom were the famous 'Friends of Joe Tecce's' of the eponymously named restaurant in Boston's North End. The frame is sixteen feet long by one foot tall...

Both a unique work of art and an extraordinary historical document, this print and group of documents were created by Eduard Buk Ulreich, best known as a muralist for Radio City Musi...

Barney Oldfield photo by Howe and Arthur.

Presented is an exclusive Apollo 11 Signature Collage. The celebratory and collectible collage is composed of a Sea of Tranquility photograph signed by astronaut Buzz Aldrin, a signed Neil Armstrong cut signature, and a Apollo 11 mission patch. In the midst of the Cold War, President John F. Kennedy delivered a speech stating his intent to place a man on the moon: "I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the Earth. No single space project in this period will be more impressive to mankind, or more important for the long-range exploration of space; and none will be so difficult or expensive to accomplish." The effort to place a man on the moon was named Project Apollo. Through multiple attempts, the United States NASA program was prepared to complete their voyage to the moon with Apollo 11. Apollo 11 successfully fulfilled the manned mission to the moon on July 20, 1969. Neil Armstrong was the first to step on the moon, with Buzz Aldrin following him a few minutes later. Armstrong's first step onto the lunar surface was broadcast on live television to a worldwide audience. He described the event as "one small step for man, one giant leap for mankind.” Apollo 11 effectively ended the Space Race and fulfilled the national goal proposed by President John F. Kennedy in 1961. This collage commemorates the feats of the Apollo 11 mission with authentic elements, including signatures, photographs, and a mission patch. At the top of the collage is a color photograph of Buzz Aldrin on the moon, taken on July 21, 1969 by Neil Armstrong as they explored the Sea of Tranquility region. Aldrin is depicted on the lunar surface and if you look closely, you can see a reflection of Armstrong in Aldrin’s visor. Aldrin signed the satin-finish photograph in blue felt-tipped ink. The signature reads "Buzz Aldrin/ Apollo XI." Below, is a small card with Neil Armstrong's signature. The signature reads "Neil Armstrong" in felt tipped pen. To the left of the signature is an Apollo 11 mission patch. The patch features a wingspread eagle landing on the moon with the words “Apollo 11” written atop it in gold stitching. The card and patch are accompanied by black and white NASA photograph of Neil Armstrong. CONDITION: Buzz Aldrin signed Sea of Tranquility photograph. Aldrin signs in blue felt tip, as "Buzz Aldrin." Signature is legible, without smudges or fading. The gorgeous satin-finish photo is in near fine condition. Photograph measures 8" H x 10" W. Neil Armstrong signed...

An Antique Vintage Hammer Tool Stacked Leather Handle Forged Iron No markings. 14.63 H x 6W x 1.25 D inches Presents in Original Unrestored...

Unusual paper suffrage pennant, with bold and whimsical, western style lettering, circa 1915 American Suffragette pennant, in a very rare format, with text that reads “Votes for Women,” in a combination of two bold, Western-style fonts. Made of golden yellow paper, with the lettering printed in black, the profile is an unusual one. Linear for approximately 2/5 of its length, the remainder tapers to a point. An example in this style is documented in "The Keynoter: Journal of the American Political Items Conservators," Summer/Fall/Winter 2008 (Women's Suffrage Special Triple Issue), Volume 2008, Number 2-4, p.133. This periodical is the best printed reference that presently exists on Suffrage objects. Golden yellow was the customary color of the suffrage movement in America, a tradition that began with the first actual campaign to give women the right to vote. This took place in 1867 in Kansas, the first state to hold a referendum on the issue when suffragists Susan B. Anthony and Carrie Stanton focused their efforts there and wore sunflowers—the state flower—in a show of support, as well as yellow ribbons. The flower was an appropriate emblem for a rising sun and growth, which led to its use in other states, and the color carried over to many other objects employed in the campaign for years to come. In England, green, white, and purple / violet were introduced in 1908 and became the colors of the movement, which gave way to a nice acronym for “Give Women the Vote.” Various groups used these colors also, in the States, sometimes substituting golden yellow for green. 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 presentation of flags and related textiles and have preserved thousands of examples. This is a pressure mount...

48 star, crocheted, antique american flag of the wwii era (1941-1945), a beautiful, homemade example, with a red, white, & blue hoist and flower-like stars: Crocheted American fla...

A Rare and Important American White Marble Sculpture of Thomas Jefferson Holding The Declaration of Independence. Circa 1870, in the Manner of Horatio Stone (1808 –1875). Inscribed on scroll: 'The Declaration of Independence, It becomes necessary for one people to dissolve the political bands which have connected them with another. etc. etc. T. Jefferson. The present work is unsigned but is reminiscent of Horatio Stone's life-size marble figure of John Hancock...

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...

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...

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

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

46 star antique American flag in an exceptionally small scale among its pieced-and-sewn counterparts, reflects oklahoma statehood, circa 1907-1912: 46 star American national flag in a tiny and very rare scale among its counterparts of the period with pieced-and-sewn construction. The 46th state, Oklahoma, joined the Union on November 16th, 1907, during Teddy Roosevelt’s presidency. Roosevelt had many friends in the Oklahoma Territory...

13 HAND-EMBROIDERED STARS AND EXPERTLY HAND-SEWN STRIPES ON AN ANTIQUE AMERICAN FLAG MADE IN PHILADELPHIA BY SARAH M. WILSON, GREAT-GRANDDAUGHTER OF BETSY ROSS, SIGNED & DATED 1911: ...

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...

Original US film poster for the 1995 James Bond film Goldeneye. This film starred Pierce Brosnan as 007 and was directed by Martin Campell. The photo used to create this poster was...

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

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

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

Antique Victorian leather coin wallet snap purse 1890s Maker stamp. Dimensions: 1.13 H x 3.63 W x .75 thick inches Original antique vintage presentation ...

Antique bronze portrait plaque of George Washington, C 1890 Possibly after Jean-Antoine Houdon, finely cast side profile with Washington's hai...

Antique vintage ice pick tools rustic Dimensions: 4.5 x 1.13 / 4.13 x .88 inches Unrestored vintage distressed condition. Weathered and worn. Wear and u...

AMBIANIC presents Antique Small Leather Money Purse Wallet Coin Pouch Change Purse Belt Accessory Distressed Aged Leather Small Wallet with Buckle Closure....

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...