Pennsylvania - More Furniture and Collectibles

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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...

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

Major Collection of 120+ Catalin & Bakelite Radio from 1930's & 1940's You will not see a collection like this FOR SALE again, all but 2 have NO DAMAGE, and All the Radios are Original, NO RE-PRO Parts and NO REPAIRS or Spray Paint of any kind. This is a Once in a Lifetime chance to Own a collection like this. The Collection consists of all for the major brands and a lot of the color combinations for each model. Some of the radios are not in the photos. Radio by, Addison A2 Addison 5 Air King A-600 Arvin 532 Bendix 0526C Crosley G1465 DeWald 561 DeWaldA501 DeWald A502 Emerson AU-190 Emerson BT-235 Emerson BM-258 Emerson AX-235 Emerson 564 Emerson EP-375 Emerson 400 Emerson Patriot Fada 5F60 Fada 5F50 Fada 53 Fada 52 Fada L56 Fada SW57 Fada 115 Fada 200 Fada 252 Fada 652 Fada 1000...

This is the Only Maroon with Black trim Emerson AX-235 I have ever seen, it is Very Rare and all Original. This is your only chance to own this color combination, you will not find a...

1937 Red Emerson AU-190 Cathedral Catalin / Bakelite Tube Radio. Red case with Red knobs. This radio is very rare to fine it in this condition. The radio is ORIGINAL and in excelle...

A masterful example of French decorative arts at its best, this lacquer panel features the interlocking figures of Egypt and Nubia, each stylized in cl...