Frame Size (H x L): 35" x 42”
Flag Size (H x L): 24” x 31”

Offered is a forty-four star flag made of cotton.  The stars on this flag are arranged in a medallion pattern, one of the most beautiful and desirable patterns in the hobby.  This particular medallion has a center star that is surrounded by three concentric rings of stars.  The three rings are then surrounded by four flanking corner stars.  

Medallion pattern flags date to at least as early as the twenty-six star flag, and at least as late as the forty-eight star flag.  The majority of medallion pattern flags, however, date to between 1861 and 1876.  During this period, many flag makers would include a center star, surround it with one or more wreaths of stars, and then surround the wreaths with flanking stars (i.e., corner stars).  Beginning in the 1890s, the beautiful medallion patterns became less common, and linear arrangements became the norm.  Why this occurred is unclear, as flag makers had the freedom to place the stars however they liked until 1912, when President Taft issued Executive Order 1556 establishing the arrangement of the stars into rectilinear rows.       

The forty-four star flag represents the inclusion of Wyoming to the Union.  Wyoming was admitted on July 10th, 1890, and this flag became official on July 4th, 1891.  Presidents Benjamin Harrison and Grover Cleveland served under this flag.

In 1889, Congress considered adding the Dakota Territory as a single state.  What happened, however, was that the Dakota Territory was split it into two states: North Dakota and South Dakota, and they were both admitted on November 2nd, 1889.  Soon thereafter, on November 8th, 1889, Montana was admitted as the forty-first state, and on November 11th, 1889, Washington was admitted as the forty-second.  When Congress went on break, flag makers began producing anticipatory forty-two star flags for the following July 4th, 1890.

To the surprise of many, on July 3rd, 1890—just one day before the forty-two star flag was going to be official—Congress admitted Idaho as the forty-third state.  As a result, the forty-two star flag never became official, but the forty-three star did.  Just a few days later, on July 10th, 1890, Congress admitted Wyoming as the forty-fourth state.  As a result of this rapid succession of state admissions, flag makers made large quantities of unofficial forty-two star flags and official forty-four star flags, but hardly any forty-three star flags (despite it being an official star count).

The forty-four star flag is relatively rare when compared to, for example, the forty-five star flag, as a result of it being used after the Centennial, but before the Spanish American War.  The forty-four star flag was the official flag for five years up until July 4th, 1896, the time at which the forty-five star flag became official and began to represent the inclusion of Utah in the Union.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: Housed in a wide, black-painted molded frame with a deep cove profile and stepped inner and outer edges. Subtle reddish-brown undertones in the grooves give the frame warmth and an antique-style character while maintaining a clean, formal presentation.

Condition Report: The flag presents well overall, with strong color and a legible medallion star pattern. There is age-appropriate toning and surface soiling throughout, most visible in the white stripes, along with several scattered brown stains, including examples near the upper fly, upper center, and lower hoist.

Collectability Level: The Best – Perfect for Advanced Collectors 
Date of Origin: 1890-1896
Number of Stars: 44
Associated War: The Indian Wars (1860-1890) 
Associated State: Wyoming 

Frame Size (H x L): 24” x 28.75”
Flag Size (H x L): 12.5” x 17.5”

Offered is an entirely handsewn thirteen-star American flag, constructed with care and precision typical of the mid-19th century. The red silk trends toward a rich maroon, setting it apart from the brighter scarlets found in most flags. The silk canton is rendered in a lighter shade of blue, best described as cornflower. Each star is hand-appliquéd, and the stitching, while delicate, has held securely. At the lower left corner, there is a small handsewn grommet.

Though it shares similarities with Bible flags carried during the Civil War—particularly in terms of its general scale, sewing technique, and overall character—this flag is somewhat larger than one would expect for that category. Bible flags were typically pocket-sized tokens, given to soldiers by loved ones as mementos of faith and patriotism. This example, by contrast, was more likely intended as a presentation or display piece, or for use in private patriotic expression. The absence of machine stitching supports a date prior to the widespread adoption of sewing machines in flagmaking after the 1870s.

STAR CONFIGURATION
The star configuration is especially notable: a 4-5-4 arrangement, seldom seen in surviving examples. Flags with this pattern are among the most difficult of all thirteen-star flags to locate, and they possess strong visual appeal. In the marketplace, approximately 75% of antique thirteen-star flags appear in the 3-2-3-2-3 “Hopkinson” pattern, about 20% in some form of medallion, and the remaining 5% in less common variations such as the 4-5-4 or Betsy Ross designs. The 4-5-4 is generally encountered on flags dating to the Civil War and earlier, and its recurrence in early examples has led some scholars to suggest that it may have been the arrangement used in the very first American flag.

This layout departs from the more familiar rows or medallions of the 19th century, underscoring the individuality and creative license exercised by local makers. Such unusual configurations were not part of official naval or government practice but are found on homemade flags, where interpretation was left to the discretion of the maker. The result is a distinctly folk arrangement that contributes to both the rarity and the aesthetic appeal of the present example.

Taken together, the flag’s traits—the entirely handsewn construction, the hand-applied grommet, the maroon-leaning red, and the light cornflower blue canton—place it between 1861 and 1876, a period spanning the Civil War and the Centennial. The reliance on handwork leans toward an earlier origin, most likely 1861–1865, though the broader window is justified by the persistence of non-standard, homemade examples into the Centennial period.

THIRTEEN-STAR FLAGS
The thirteen-star flag was first adopted on June 14, 1777, when the Continental Congress resolved that “the flag of the United States be made of thirteen stripes, alternate red and white, that the union be thirteen stars, white on a blue field, representing a new constellation.” Although official only from 1777 to 1795, thirteen-star flags remained in use long afterward as a symbolic reference to the nation’s origins.

They appeared in a variety of contexts. Small U.S. Navy boats used them as ensigns from 1795 until 1916. They were displayed at the death of George Washington in 1799, during the nation’s 50th anniversary in 1824, and again in celebration of General Lafayette’s return that same year, when public events were held in major cities and throughout the South and West.

Their use was especially prominent during the Mexican War (1846–1848) and the Civil War (1861–1865), when the direct association with the Revolutionary generation carried strong patriotic meaning. The Centennial of 1876 marked another major revival, most notably at the Centennial International Exhibition in Philadelphia, where countless thirteen-star flags were flown as emblems of national pride.

Placed within this tradition, the present flag embodies both the creativity of its maker and the enduring resonance of the thirteen-star design. Its handsewn construction, unusual 4-5-4 configuration, and dating to the Civil War–Centennial era align it with a broader pattern in which the thirteen-star flag was not simply a relic of the Revolution, but a patriotic symbol revived during moments of national conflict and commemoration.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.

Frame: This offering is in our Large Distressed Black and Gold Frame.  

Condition Report: The flag shows expected wear consistent with age and use. There are scattered stains and soiling throughout, with water exposure having caused visible “haloes” around the stars and areas of dye migration into the stripes and along the hoist. Stitching remains intact, and while there is light fraying at the edges, the overall structural integrity is sound.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1861-1876
Number of Stars: 13
Associated State: Original 13 Colonies

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 24.75” x 33”
Flag Size (H x L): 14” x 22.5”

Offered is an exceptional and historically meaningful printed cotton flag featuring the celebrated Whipple pattern, produced between 1909 and 1912. This rare early 20th-century design represents one of the most ambitious alternative star configurations proposed just before the federal government standardized the forty-eight-star flag in 1912.

From the earliest years of the Republic, American flag makers enjoyed considerable freedom in arranging the stars. Although the First Flag Act of 1777 established the basic elements of the flag, no law specified how the stars should be configured. The result was more than a century of extraordinary variety—sunbursts, wreaths, great stars, medallions, and countless regional or maker-specific arrangements—each reflecting artistic preference, patriotic symbolism, or contemporary sentiment.

This long period of experimentation came to an end as the nation approached the admission of New Mexico and Arizona in 1912. To settle the matter, President William Howard Taft issued Executive Order 1556, which established a fixed pattern of six rows of eight stars and formalized the proportions of the U.S. flag. With a single directive, the era of creative unofficial star configurations drew to a close.

Among the most compelling designs proposed during the run-up to this change was the Whipple Peace Flag, created by author and historian Wayne Whipple of Philadelphia. Whipple sought a design that honored both the origins and the growth of the Union. At its center is a large Great Star composed of thirteen stars for the original colonies. Surrounding this are two rings: an inner ring of twenty-five stars representing states admitted between 1776 and 1876, and an outer ring of ten stars for those added afterward. The wide spacing of the outer ring was intentional, allowing room for future expansion. Whipple viewed the design as a symbol of unity, continuity, and national optimism, and he promoted it widely; it even drew the interest of President Taft.

Whipple’s proposal did not emerge in isolation. By the early 20th century, newspapers regularly published speculative star patterns, and patriotic organizations debated which arrangements best embodied the expanding nation. Whipple—already known nationally as a historian and author of patriotic literature—became one of the most visible advocates for a symbolic, historically grounded design. He published pamphlets, contributed articles, and delivered public lectures explaining the layered meaning behind his concentric rings of stars.

His design gained additional momentum in 1910 and 1911, when the federal government explored how a future standardized flag might be constructed. Whipple submitted his model to the War Department and to the White House, where numerous proposals were reviewed. Period newspapers reported that President Taft personally examined Whipple’s design and appreciated its symbolism. For a brief but notable period, the Whipple configuration appeared in editorials and patriotic publications as a serious contender for the official U.S. flag. Its eventual rejection—in favor of a simpler, more industrially efficient grid—captures the tension of the era, as the United States shifted from expressive, artisanal variations to a standardized national emblem aligned with modern manufacturing.

This example is printed on a lightweight, plain-weave cotton with clearly defined warp and weft yarns, typical of commercially produced parade flags of the early 20th century. The flagmaker finished the hoist, fly, and top edges with machine stitching. In contrast, the bottom edge was left unstitched because it is the original woven selvage of the fabric, which is naturally stable and does not fray. Together, these construction details reflect the practical, straightforward methods used for printed cotton flags intended for patriotic use in the years immediately preceding the adoption of the standardized forty-eight-star design. As both a patriotic artifact and an alternative vision for the national flag, this Whipple-pattern example stands as a compelling piece of pre–World War I Americana.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: The flag is presented in a striking two-part custom frame composed of a wide, matte black outer moulding paired with a contrasting inner liner in a soft metallic tone. The combination creates depth and visual separation, allowing the flag to sit prominently.

Condition Report: The flag remains in attractive overall condition, with strong color in the red stripes and good clarity in the Whipple star configuration. Light discoloration appears along portions of the fly edge, likely the result of long-term storage in a rolled state, where the outermost layers were more exposed to ambient conditions. Of the minor fabric breaks present, the most notable is a small tear at the upper hoist corner; its placement suggests it may relate to early tacking—whether to a staff, a wall, or another display surface is uncertain.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1909-1912 
Number of Stars: 48
Associated State: Arizona

Frame Size (H x L): 45” x 55.5”
Jersey Size (H x L): 33.5” x 44”

Offered is an early baseball jersey with “BOARD OF TRADE” spelled across the chest in dark navy wool felt letters arranged in an arc. The jersey is made of gray pinstriped flannel with narrow tan stripes, typical of uniforms from the 1930s and 1940s. It has a full button front, short tail, and blue trim along the collar and sleeve cuffs. Ventilation eyelets are set under each arm, and inside the collar is a woven label that reads “Honus Wagner Sporting Goods / 438 Wood Street / Pittsburgh.” Stitching, seams, and materials are consistent with the factory-made flannel uniforms of that period.

The left sleeve shows an “NS” monogram, which may refer to either North Side or North Shore—both of which would have been relevant to the Chicago Board of Trade (“CBOT”). Many CBOT members lived along Chicago’s North Shore suburbs—Evanston, Wilmette, and Winnetka among them—and it’s plausible that this jersey represented a Board of Trade club or team drawn from that community. The style and construction are consistent with factory-issued industrial-league uniforms of the late-Depression era.

Company and industrial baseball teams were an important part of American work and social life during the early to mid-1900s. Businesses, trade groups, and civic organizations often formed their own teams to play in local leagues. The reference to the Board of Trade almost certainly points to the Chicago Board of Trade, which had an active presence in those circles. Employees and members fielded teams that competed in business leagues around the city, and it was not uncommon for the CBOT to sponsor or affiliate with regional teams in surrounding communities such as the North Shore, where many of its members resided.

Among all boards of trade across the country, Chicago’s stood apart. Founded in 1848, the CBOT became America’s leading commodities exchange and one of the city’s defining institutions. By the 1930s, its trading floor was a symbol of Chicago’s economic strength and resilience during the Great Depression, with thousands of brokers, clerks, and laborers moving grain and livestock futures that kept the Midwest’s economy in motion. Athletic teams like this one offered both recreation and a way to strengthen camaraderie in a high-pressure environment. Baseball, in particular, became an outlet for workplace pride and a reflection of the city’s blue-collar energy.

That same spirit extended northward into the lakefront suburbs, where baseball held a prominent place in civic and recreational life. During the 1930s and 1940s, the North Shore hosted a network of amateur and semi-professional leagues—many sponsored by local businesses, civic clubs, and Chicago institutions whose employees lived outside the city. Games were played on public diamonds and school fields in Evanston, Wilmette, Winnetka, and Highland Park, often drawing crowds from the surrounding neighborhoods. Teams from the Board of Trade, the stockyards, and local manufacturers regularly traveled the North Shore circuit. These were competitive, well-organized games, blending business rivalry with the sense of community that small-town baseball brought to the region. For many white-collar Chicagoans, suiting up on a summer evening to play along the lakefront was as much a social tradition as it was a sport.

The Honus Wagner Sporting Goods Company, whose tag appears in the collar, adds another layer of significance. Founded in Pittsburgh by Hall of Fame shortstop Johannes Peter “Honus” Wagner shortly after his playing career ended, the firm produced uniforms, bats, and gloves from roughly 1919 through the early 1950s. Wagner was one of the most respected figures in baseball history—a cornerstone of the early Pittsburgh Pirates and an inaugural inductee into the National Baseball Hall of Fame in 1936. Known as “The Flying Dutchman,” he was admired not only for his remarkable skill but also for his integrity and sportsmanship, traits that made his name an ideal brand for quality athletic goods.

Wagner’s reputation gave the company immediate credibility among ballplayers, and his business drew steady demand from amateur, semi-professional, and industrial-league teams across the Midwest and Great Lakes regions. His involvement was more than nominal—he reportedly visited the shop and remained engaged in its operations well into his later years. The label inside this jersey, featuring the 438 Wood Street, Pittsburgh address, corresponds to the company’s mid-1930s to 1940s production period, and its woven script design matches other verified examples from that timeframe. When paired with the jersey’s flannel weight, pinstripe pattern, and reinforced underarms, these characteristics align squarely with a mid-to-late 1930s manufacture.

Taken together, the evidence points to a jersey made for a Chicago Board of Trade baseball team, likely one connected to the city’s North Shore. It stands as a rare surviving piece from the era when America’s corporate and civic institutions proudly fielded baseball clubs as part of daily life. The subject matter itself has wide appeal—connecting fans of the game, students of Chicago history, collectors of financial-market memorabilia, and anyone drawn to the intersection of American commerce and sport. Few objects capture that blend of competition, community, and identity as directly as a uniform worn by traders stepping off the exchange floor to play ball.

Conservation Process: The jersey was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the jersey, it was first washed in a standard wash and then in a dye setting wash. The jersey is positioned behind Optium Museum Acrylic.

Frame: The frame has a clean, substantial profile finished in a dark brown veneer called Cigar Leaf. Its surface has a soft, natural sheen that gives the impression of hand-rubbed wood rather than a heavy gloss. The overall look is simple but refined, with enough depth and warmth to complement the antique jersey.

Condition Report: The jersey shows moderate wear consistent with its age. The flannel fabric remains strong with a few light stains from use. The felt lettering is well preserved with only minor fraying at the edges, and the buttons and Honus Wagner tag remain intact and original.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1935-1940

Frame Size (H x L): 16.5” x 19.5”
Flag Size (H x L): 6” x 8.5”

Offered is a rare and personal example of an overprinted American flag, used to commemorate the 1938–1939 basketball season at St. Peter’s High School in New Brunswick, New Jersey. Printed on cotton, the flag features 48 stars and 13 stripes, in keeping with national standards at the time. Onto this standard design, names and inscriptions were added by hand in ink, turning the flag into a localized artifact tied to a specific team.

The overprint marks the school’s basketball team winning the Eastern States Invitational Tournament Championship. Regional tournaments like the Eastern States Invitational brought together top teams from across the Northeast.  

The inscriptions list the starting lineup: Co-Captain Vinnie Reagen (named All-State in 1938), Co-Captain Billy Harkins, Jimmie Hearn, Jack Kelly, and Bill Borinheimer. Second-string players are also named: Johnson, Tacacks, Clark, Burns, and Dougherty. Five of the starters’ names are written vertically on the stars in the canton, further integrating player recognition into the flag’s design. The flag is dated March 28, 1938, and references “Home-Coming,” suggesting use in a celebratory event, such as a parade or school gathering.

This flag was featured in the 2011–2012 exhibition The Stars and Stripes: Fabric of the American Spirit at the Morven Museum & Garden in Princeton, New Jersey. The exhibition presented highlights from The Pierce Collection of American Parade Flags, one of the most respected collections of patriotic textiles in the country. The show examined how Americans have used the flag to commemorate political, civic, and personal milestones. This example stood out for its use as a tool of local recognition, blending national symbolism with school achievement.

The flag also reflects the broader history of American flag design. Prior to 1912, flag makers were free to arrange the stars in any pattern. Early 48-star flags often featured staggered or offset arrangements. That changed with Executive Order 1556, issued by President William Howard Taft in 1912, which standardized the layout to a rectilinear pattern of six rows of eight stars (8-8-8-8-8-8). The flag offered here follows that design. Based on materials and construction.

The 48-star flag became official on July 4, 1912, following the admissions of New Mexico (January 6, 1912) and Arizona (February 14, 1912) as the 47th and 48th states. It remained in use for forty-seven years—longer than any other official U.S. flag design—until July 4, 1959, when Alaska's statehood introduced the 49-star version. It flew during the administrations of Presidents Taft through Eisenhower, and during World War I, World War II, and the Korean War.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.

Frame: The flag is housed in an antique walnut frame, likely dating between 1860 and 1890. The frame features a plain walnut molding with an inner gilt liner.

Condition Report: The flag is in excellent condition. There is some light soiling and toning. The ink inscriptions remain clearly legible throughout.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1938
Number of Stars: 48
Associated War: WWI
Associated State: Arizona

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 32.5” x 46”
Flag Size (H x L): 22” x 35.5”  

Offered here is a large‐scale, thirty-eight star United States flag, printed on coarse cotton and showcasing an offset medallion star pattern. This design features a central star encircled by three concentric rings of stars—a five star inner ring, a ten star middle ring, and a twenty star outer ring—along with two offset stars positioned to the right. Medallion patterns like this were particularly popular in the nineteenth century, reflecting the creativity of private flag manufacturers who often added artistic flourishes to their designs.

The medallion pattern itself holds historical significance, embodying both patriotic symbolism and aesthetic appeal. Such patterns were favored during periods of heightened national pride, as their symmetrical and eye-catching designs emphasized the unity of the states. While the U.S. government did not standardize star arrangements until the early twentieth century, medallion patterns were commonly seen in the flags of the Civil War and post-Civil War eras, making them enduring symbols of an expanding and optimistic nation.

The thirty‐eight stars on this flag represent Colorado’s admission to the Union on August 1st, 1876. Known as the “Centennial State,” Colorado earned its nickname for achieving statehood just twenty‐eight days after the nation’s centennial celebrations. Colorado’s journey to statehood began with the establishment of the Colorado Territory in 1861, spurred by the Pike’s Peak Gold Rush, which brought a wave of settlers to the region. Early statehood efforts faced setbacks, including a veto by President Andrew Johnson in the 1860s, but a renewed push in the mid-1870s culminated in Colorado’s official entry as the thirty-eighth state following Congress’s passage of an enabling act.

Although the thirty‐eight star flag did not become official until July 4th, 1877, flag makers frequently produced “anticipatory flags” ahead of such changes. These flags played a prominent role during the centennial celebrations of 1876, alongside revival designs featuring thirteen stars to commemorate the original colonies. The Centennial year was a watershed moment for the United States, fostering a renewed sense of patriotism and unity after the divisions of the Civil War. Communities across the nation adorned homes, businesses, and public spaces with red, white, and blue decorations, and flags became the centerpiece of this outpouring of national pride.

The Centennial International Exposition in Philadelphia was the highlight of these celebrations, attracting nearly ten million visitors between May and November of 1876. This world’s fair showcased American ingenuity on a grand scale, with notable exhibits including the Corliss Steam Engine and Alexander Graham Bell’s telephone, which would go on to revolutionize communication.

The thirty‐eight star flag officially served from July 4th, 1877, to July 4th, 1890, during which it flew over the administrations of Presidents Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. This flag represented a nation growing both geographically and industrially. Colorado’s statehood symbolized the United States’ expansion westward, driven by mining booms, railroad construction, and the development of new settlements.

In 1890, the addition of five new states—North Dakota, South Dakota, Montana, Washington, and Idaho—necessitated a redesign, and the forty‐three star flag replaced the thirty‐eight star version. Despite its relatively short tenure, the thirty‐eight star flag remains a prized artifact, celebrated for its vibrant medallion designs and its connection to the Centennial year—a defining moment in American history when the nation reflected on its first century and welcomed Colorado as a symbol of progress and unity.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.

Frame: This offering is in our X-Large Distressed Black and Silver Frame.

Condition Report: The flag is in overall good antique condition for its age. The colors remain visible, though the red and blue areas exhibit fading consistent with time and exposure. There are some small holes, fraying along the edges, and light staining, but these issues do not significantly detract from its historical integrity or presentation. If anything, they add to it.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1876-1889
Number of Stars: 38  
Associated War: The Indian Wars (1860-1890)  
Associated State: Colorado

Frame Size (H x L): 18.5” x 24”
Flag Size (H x L): 8.5” x 14”

Offered is a thirty-six star antique flag, printed on coarse glazed cotton and bearing one of the most unusual and distinctive star configurations known in 19th-century American flags. The design features a massive central star set in the middle of the canton. Encircling it is a wreath of seventeen stars, followed by a larger parenthesis of fourteen stars—seven to the left and seven to the right. Four additional stars, one in each corner of the canton, frame the entire composition. Together, these elements form a clear and deliberate arrangement that is highly structured and visually balanced.

The use of a parenthesis formation in a star pattern is exceptionally rare. While 19th-century flag makers employed a wide range of designs—including medallions, wreaths, great stars, and snowflakes—very few surviving examples include a true left-right arc that resembles a bracketed enclosure. In the few that do, the arcs are typically subtle and easily lost within a field of other stars. In contrast, the parenthesis on this flag is plainly visible and integral to the design. We are aware of only three examples of this exact configuration, and no other known pattern presents the parenthesis in this prominent a way.

The massive center star is a form sometimes referred to as a “center star,” a feature occasionally used to represent the newest state admitted to the Union. In this case, that state is Nevada. Center stars are usually only modestly larger than surrounding stars. Here, however, the center star is dramatically oversized and dominates the canton. It is also inverted, with one point facing downward. The reasons for this orientation are unclear. In many cases, 19th-century makers did not follow a standard orientation and may not have viewed any one direction as “up.”

The remaining stars are irregular in shape and size. The stripes have faded to a salmon or orange hue, which aligns with the use of madder or cochineal dyes—commonly used between 1850 and 1880—and known to fade in this way over time.

This flag includes an extra white stripe along the top, an unusual but not symbolic feature. It likely results from how the flag was cut from a larger bolt of glazed cotton that included multiple printed flags. Depending on the cut, individual examples could include one or more additional stripes. In this case, the extra stripe adds visual interest.

This is the third known example of this flag type. One is held in the Pierce Collection of American Parade Flags and is published on page 18 of The Stars and Stripes: Fabric of the American Spirit. A second example previously passed through our hands.  

Thirty-six star flags represent the admission of Nevada to the Union. Although Nevada became a state on October 31, 1864, the thirty-six star flag became official on July 4, 1865. That date came shortly after the end of the Civil War, and the flag is often associated with Union victory and the early years of Reconstruction. The thirty-six star flag remained official until July 4, 1867, when the thirty-seven star flag was adopted to include Nebraska.

Nevada’s admission was driven by both political and economic motives. It occurred just eight days before President Lincoln’s re-election, bolstering Republican electoral strength. Economically, Nevada’s silver mining industry was seen as important to financing the Union’s war debt. The state’s borders were later expanded in 1866 and again in 1867, adding land from the Utah and Arizona territories.

This flag stands out for its oversized center star, visible parenthesis arrangement, and added stripe—features that place it among the most distinctive and scarce known designs from the Civil War era.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: The flag is presented in a custom two-part frame. The outer frame is a dark wood with a subtle grain texture, while the inner liner is a metallic silver, offering a clean contrast that highlights the colors and form of the flag.    

Condition Report: The flag is in sound condition, with moderate wear consistent with age and use. Toning and soiling are present throughout, and there is some minor fraying along the edges. The colors have faded, particularly the red stripes, which now appear as a muted orange—typical of madder-based dyes used during the period. A line of old nail holes runs vertically along the right edge, evidence of the flag’s original attachment to a wooden staff.

Collectability Level: The Best – Perfect for Advanced Collectors  
Date of Origin: 1864-1867  
Number of Stars: 36  
Associated War: Civil War (1861-1865)
Associated State: Nevada

Frame Size (H x L): 16” x 12.5”
Flag Size (H x L): 10” x 6.75”

Offered is a 29-star American flag printed on glazed cotton, with its stars arranged in a striking and highly desirable medallion configuration. At the center of the canton is a large star, known as a “center star,” symbolizing the most recently admitted state to the Union—Iowa. This central star is surrounded by two concentric rings of smaller stars, with four additional flanking stars placed in each corner of the canton, creating a bold and balanced aesthetic.

The stars themselves are notably pointy and whimsical in design, tightly packed within the canton in a way that is both charming and visually distinctive. Though the specific maker is unknown, these stars match a recognizable style attributed to a small group of flags believed to originate from the same workshop. Flags from this group have been documented in only six known star counts: 7, 13, 15, 29, 33, and 35. Each of these counts carried symbolic meaning—celebrating early secession, the original thirteen colonies, Kentucky’s centennial, or the most recent state admissions to the Union. Among this group, the 29-star variant is the earliest and among the rarest.

This flag is mounted vertically, which repositions the canton to the upper left, in accordance with modern U.S. flag display customs. If it were mounted horizontally, the canton would appear in the upper right—a configuration known as a reverse (or backwards) mount. While that orientation conflicts with today’s flag code, such standards did not exist in the 19th century, and reverse displays were both common and acceptable. In some cases, flags were printed on only one side (e.g., the one offered herein) or appeared more vibrant on the reverse, making backwards mounting both practical and historically appropriate to collectors.

The 29-star flag commemorates Iowa’s admission to the Union on December 28, 1846. Iowa’s path to statehood began decades earlier, when the land was acquired as part of the Louisiana Purchase in 1803. For years, it remained sparsely populated by settlers and occupied largely by Native American tribes.

In the 1830s, following a series of treaties and the Black Hawk War of 1832, the U.S. government opened the territory to white settlement. Iowa became an official U.S. territory in 1838, carved from the Wisconsin Territory, and experienced rapid population growth due to its fertile land and strategic location along the Mississippi River.

As its population expanded, Iowa petitioned for statehood in the 1840s. Congress initially rejected Iowa’s proposed constitution due to boundary disputes, but a revised constitution was approved in 1846. On December 28 of that year, President James K. Polk signed the act admitting Iowa as the 29th state.

The admission marked a continued westward expansion of the Union and helped establish Iowa as a key agricultural state in the growing republic.

This flag officially became representative of the United States on July 4, 1847, and retained that status for just one year—until July 4, 1848, when a 30th star was added for Wisconsin. Due to this extremely brief period of official use, 29-star flags were produced in very limited numbers.

Compounding their rarity is the broader historical context: flags made before the Civil War (1861–1865) are exceptionally scarce. During this era, flag use was far more restrained. Americans did not commonly display flags for patriotic reasons, and military use was also limited. U.S. Army artillery units weren’t authorized to carry the national flag until 1834, and infantry regiments not until 1841. As a result, flags made before the outbreak of the Civil War account for roughly only 1% of 19th-century U.S. flags that survive today.

This example, with its early date, rare star count, and medallion design, represents an important artifact from the antebellum period. Flags from this era are difficult to find, and 29-star examples are especially scarce due to their short period of official use. This flag offers historical value both as a physical object and as a reflection of the nation's growth during the mid-19th century.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: This offering is in an attractive tiger maple frame. Tiger maple frames are cherished for their striking, wavy grain patterns that shimmer with a unique iridescence, reminiscent of a tiger's coat.

Condition Report: The flag remains in remarkably clean and well-preserved condition. There is some discoloration, along with a few tiny holes, but these are minimal and do not detract from the flag’s overall appearance. Compared to others from the era, this example ranks among the very best in terms of condition.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1846-1848
Number of Stars: 29 
Associated State: Iowa

Price: Call 618-553-2291, or email info@bonsellamericana.com 
Frame Size (H x L): 17” x 20”
Flag Size (H x L): 8.5” x 11.5”

Offered is a thirty-eight star parade flag.  It is printed on silk, and a gold fringe is handsewn thereto.  its stars are arranged in a "Great Star" pattern—a configuration that is as rare as it is interesting.  This particular Great Star includes twenty-five stars in its outline, eight stars inside of the outline, one star surrounding the outline, and four corner flanking stars.  The flanking stars are canted and larger than the others.   

US Naval Captain Samuel Reid is credited with designing the Great Star pattern in 1818.  Captain Reid was an officer in the US Navy and commanded the privateer General Armstrong during the War of 1812.  Andrew Jackson credited Captain Reid's heroism in delaying the British Squadron in the Battle of Fayal, and aiding in General Jackson's defense of New Orleans.  Captain Reid and his crew were greeted as heroes.

The Second Flag Act, passed in 1794, stated that the flag would have fifteen stars and fifteen stripes, in response to Vermont and Kentucky being added to the Union.  Knowing that this approach would not be sustainable, with Captain Reid's help, Congress passed the Flag Act of 1818, specifying that the flag should only have thirteen stripes, but should have a star for each state admitted to the Union.  It further specified that the addition of each star should be on the Fourth of July following its respective state's admission. 

Captain Reid played a significant role in the Flag Act of 1818.  He recommended a basic design of thirteen horizontal alternating stripes in honor of the thirteen colonies and a star in honor of each state.  He further recommended several potential star patterns, including twenty stars in the shape of a larger star for general use.  Reid suggested this pattern to make the flag consistent and easily identifiable, particularly at long distances and at sea.  His star pattern recommendation was not ultimately included in the Act, nor was any star pattern, but Captain Reid is universally credited with designing the Great Star pattern.  Its use peaked in the 1840s, but it was also used during the Civil War and occasionally during Centennial Celebrations.  Its last known commercial use was on a thirty-eight star flag.  

Perhaps the most interesting feature of this flag is its profile, in that it includes a V-shaped swallowtail.  Its swallowtail was inspired by those of U.S. cavalry guidons (i.e., small flags used by cavalry units to mark the flanks).  Of the antique flags that enter the market, perhaps one-in-a-thousand include a swallowtail shape at the fly end, making this flag particularly unique, desirable, and visually dramatic.

The thirty-eight star flag represents the inclusion of Colorado to the Union.  Colorado was admitted on August 1st, 1876 and this flag became official on July 4th, 1877.  Presidents Hayes, Garfield, Arthur, Cleveland, and Harrison all served under this flag.  Colorado became known as the “Centennial State,” a result of becoming official just twenty-eight days after the centennial.  The official star count for US flags in 1876 was the thirty-seven star flag.  However, it was common for flag makers to produce anticipatory flags in advance of their official date, making the thirty-eight star flag—and for historical reasons, the thirteen star flag—the most common flags flown during the centennial celebrations of 1876.      

The nation’s centennial in 1876 inspired patriotism across the county and reunited its citizens.  Cities of all sizes hosted parades and celebrations, and buildings and homes were canvased in red, white, and blue with flags being the primary symbol of national pride.  The most notable celebration was the Centennial International Exposition in Philadelphia.  In just six months, the Exhibition hosted nearly 10 million visitors, and included many extraordinary exhibits, including the introduction of the Corliss Steam Engine and Alexander Graham Bell’s telephone.

The thirty-eight star flag was official until July 4th, 1890, the time at which the forty-three star flag became official and began to represent the inclusion of North Dakota, South Dakota, Montana, Washington, and Idaho to the Union.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: This flag is in a multitiered frame with an outer walnut layer and an inner gilded layer.  It dates to between 1860 and 1890. 

Condition Report: There is some staining.  The most notable stain is in the bottom-left corner of the canton.  There are a few small holes.  The fringe is tattered in places, but only slightly. 

Collectability Level: The Best – Perfect for Advanced Collectors 
Date of Origin: 1876-1889 
Number of Stars: 38  
Associated War: The Indian Wars (1860-1890)  
Associated State: Colorado 

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 9” x 10.5”
Flag Size (H x L): 4” x 5.75”

Offered is a rare eight-star parade flag made in celebration of Virginia's secession from the Union.  It is printed on glazed cotton and includes stripes that lean towards orange.  The star pattern includes a canted center star, and it is surrounded by a ring of randomly canted stars of the same size.  All of the stars are poorly and whimsically printed, as is often the case on flags dating to the Civil War.

Seven-star flags were made with Southern sympathies and commemorated the first wave of states that seceded from the Union, starting in February of 1861.  The first wave included Louisiana, Georgia, Alabama, Florida, Mississippi, South Carolina, and Texas.  Later, in April of 1861, Virginia seceded as the eighth state.  Similar to the seven-star flags, this eight-star version commemorated the secession of the Southern states and, specifically, the historically important state of Virginia. 

All known eight-star parade flags date to the Civil War, while some seven-star parade flags date to as late as 1890.  Of the parade flags having fewer than thirteen-stars, the eight and nine-star versions are by far the rarest.  Seven-star parade flags, for example, outnumber their eight-star counterparts by a ratio of 100-to-1.

This flag was manufactured in a reverse mount orientation.  A reverse mount is one in which the canton of a US flag is positioned in the upper-right corner.  Current flag ethics state that the canton should always be placed on upper-left, but such a requirement did not exist in the 19^th century.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: The frame is made of tiger maple and dates to approximately 1840.  It is a highly desirable frame and outstanding in its appearance. 

Condition Report: There is some staining and fading across the surface.  There is a blue stain on the bottom white stripe, along and near the right edge.  This stain appears to be a period stain, likely as a result of the printing process.  A portion of the right edge is missing, perhaps because it was originally affixed to a staff via glue.

Collectability Level: The Best – Perfect for Advanced Collectors  
Date of Origin: 1861   
Number of Stars: 8
Associated War: The Civil War (1861-1865)   
Associated State: Virginia 

Frame Size (H x L): 36” x 20.75”
Pennant Size (H x L): 26” x 10”  

Offered is an antique prohibition pennant in the classic elongated triangular form, tapering sharply to a point. The background is a muted purple. White lettering is arranged in a bold, visually balanced layout. Along the hoist edge, “VOTE YES” appears vertically in tall block letters, setting a strong tone.

Centered on the pennant is the rallying cry: “CALIFORNIA DRY.” “CALIFORNIA” is rendered in large capital letters, with “DRY” below it in a slightly smaller font. Notably, the “D” in “DRY” contains tally marks—five lines crossed diagonally—suggesting themes of voting and civic action. Below, “NOV 3” anchors the design in time.

At the pointed tip, “1914” runs horizontally, underlined with a stylized line that draws the eye to the end. The typography shifts subtly to fit the space, maintaining clarity while enhancing the urgency of its original message.

This pennant commemorates a pivotal moment in California’s history, set against the backdrop of the early 20th-century temperance movement. By 1914, national momentum for prohibition was surging, fueled by decades of grassroots advocacy from organizations like the Anti-Saloon League and the Woman’s Christian Temperance Union. These groups saw alcohol as a root cause of societal ills—crime, poverty, domestic violence, and moral decay—and worked tirelessly to bring about change.

The slogan “California Dry” was part of a statewide campaign urging voters to support a ban on the manufacture and sale of alcohol. The scheduled vote on November 3, 1914, marked California’s own reckoning with the growing national call for temperance.

Although California voters ultimately rejected the prohibition measure in 1914, the campaign was emblematic of a broader cultural shift that culminated just a few years later. By 1919, the 18th Amendment had been ratified, launching national Prohibition in 1920. But that national effort was built on years of local and state-level battles, battles like the one this pennant represents. In fact, many counties and municipalities in California had already gone “dry” prior to the statewide vote, adopting local ordinances in response to public pressure.

The 1914 campaign also reflected a deeper clash of values within California itself. Urban centers like San Francisco and Los Angeles—with their diverse immigrant populations and thriving nightlife—largely opposed prohibition. In contrast, rural and religious communities were more inclined to support it. The debate underscored broader societal tensions: progressivism vs. personal liberty, tradition vs. modernization, rural conservatism vs. urban dynamism.

The temperance movement in California was further complicated by the state’s unique cultural and demographic makeup. California was home to large immigrant communities—particularly from Italy, Germany, and China—many of whom brought longstanding cultural traditions involving alcohol, whether in winemaking, beer brewing, or social consumption. These communities viewed prohibition as an assault not only on personal freedom but on cultural identity itself. As a result, anti-prohibition forces in the state often framed their opposition in terms of civil rights, economic livelihood, and ethnic representation, further polarizing the electorate.

Despite the 1914 defeat, California would continue to play a nuanced role in the prohibition era. While the state never passed a sweeping statewide ban, numerous towns and counties enacted local prohibition laws, creating a patchwork of dry and wet jurisdictions. These localized efforts mirrored national trends, where enforcement varied widely and resistance was often spirited. California’s complex geography, extensive coastline, and border with Mexico also made it a hotbed for bootlegging and smuggling during national prohibition—an unintended consequence that revealed the limitations of enforcement and foreshadowed the law’s eventual repeal.

The slogan “Vote Yes California Dry” was more than a political message—it was a call for moral reform, social order, and a vision of a better society during a time of rapid change.

Today, this pennant stands as a artifact of grassroots activism and civic mobilization. It captures a moment when Americans were deeply engaged in questions about the role of government, personal responsibility, and the power of collective action. While national Prohibition would ultimately be repealed in 1933 with the 21st Amendment, the legacy of the movement—its fervor, its controversy, and its impact—echoes in the stories of campaigns like California’s 1914 vote.

Conservation Process: This pennant was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the pennant, the fabric was first washed in a standard wash and then in a dye setting wash.  The pennant is positioned behind Optium Museum Acrylic.

Frame: Framed in a matte black wood frame with subtle grain texture, the presentation is both understated and elegant.

Condition Report: The pennant shows moderate fading consistent with age, but the lettering remains bold and legible. The felt is intact with no major flaws, making it a well-preserved example of early political ephemera.

Collectability Level: The Great – Perfect for Rising Collectors   
Date of Origin: 1914

Weathervane Size: 28” in length, 20” in height, and 5” in width

Offered is superb Jersey cow weathervane.  The 19^th century in America witnessed a burgeoning interest in weathervanes, both as functional tools and as decorative architectural elements. Cow weathervanes, often perched atop barns and farmhouses, meld functionality with symbolism, serving as a reflection of the agricultural roots of a property. These weathervanes not only indicate the direction of the wind but also often signify a farm's focus on cattle production. Beyond their practical utility, the cow design speaks to the cultural and economic importance of cattle in many rural communities. Whether chosen for its direct relevance to the farm's livelihood, as a nod to regional traditions, or simply for the aesthetic appeal of the bovine silhouette against the sky, cow weathervanes remain a cherished emblem of pastoral life and heritage.

The weathervane offered herein dates to approximately 1880 and is attributed to L.W. Cushing & Sons. While several manufacturers dotted the American landscape, few commanded the reverence and legacy associated with L.W. Cushing & Sons of Waltham, Massachusetts.

Established in the mid-19^th century, L.W. Cushing & Sons emerged in a period rife with technological advancement and a growing appreciation for artisanship. As America was evolving, so too were its buildings and the decorative elements that adorned them. Weathervanes, with their blend of utility and aesthetics, naturally found favor among homeowners, public building custodians, and farmers alike. Situated within this backdrop, the company positioned itself as a paragon of quality and artistic integrity.

Central to L.W. Cushing & Sons' reputation was its unwavering commitment to craftsmanship. Crafted primarily from copper, their weathervanes often bore a gilded finish of gold leaf, making them shimmer and gleam under the sun's rays. This meticulous attention to detail not only ensured longevity but also conferred upon each piece a distinctive brilliance that set them apart. In the case of the weathervane offered herein, its surface includes a blue-green verdigris patina, bright and reflective gold leaf, and yellow gilder’s size (i.e., a type of yellow paint applied prior to the gold leaf that is revealed as aging occurs). Such a surface is considered the most appealing amongst the possibilities associated with copper weathervanes.

Referring back to L.W. Cushing & Sons, it was not just the quality of materials or finish that distinguished its weathervanes; it was their design ingenuity. From galloping horses and proud roosters to gracefully arcing arrows and stately ships, each weathervane bore testament to the dynamism of the era. Their designs captured the very essence of the subjects they portrayed, intertwining realism with a sense of motion, making them not just functional tools but pieces of art.

Yet, as with many tales of craftsmanship and artistry, the narrative of L.W. Cushing & Sons has its twilight. With the dawn of the 20^th century, industrialization began reshaping the American manufacturing landscape. The once-celebrated weathervane, a symbol of a bygone era, found itself overshadowed by modern architectural sensibilities. The demand dwindled, and eventually, the journey of L.W. Cushing & Sons came to an end.

However, history has a way of revisiting and reviving its treasures. The present era, with its renewed interest in traditional American crafts, has resurrected the legacy of L.W. Cushing & Sons. Collectors and enthusiasts now view their weathervanes not just as wind indicators but as exceptional  artifacts of Americana.  

The legacy of L.W. Cushing & Sons serves as a poignant reminder of America's rich decorative arts history. While they may no longer navigate the winds as they once did, their weathervanes continue to guide us through a historical journey, echoing tales of artistry, innovation, and timeless elegance.

Collectability Level: The Best – Perfect for Advanced Collectors 
Date of Origin: Approximately 1880  

Price: Call 618-553-2291, or email info@bonsellamericana.com 
Frame Size (H x L): 25” x 19”
Flag Size (H x L): 8” x 10” and Affixed to a 16” Staff

Offered is a thirty-eight star parade flag.  It is printed on silk, and a gold fringe is handsewn thereto.  its stars are arranged in a "Great Star" pattern—a configuration that is as rare as it is interesting.  This particular Great Star includes twenty-five stars in its outline, five stars inside of the outline, four stars surrounding the outline, and four corner flanking stars.  The flanking stars are canted and slightly larger than the others.  The flag is still affixed to its staff.

US Naval Captain Samuel Reid is credited with designing the Great Star pattern in 1818.  Captain Reid was an officer in the US Navy and commanded the privateer General Armstrong during the War of 1812.  Andrew Jackson credited Captain Reid's heroism in delaying the British Squadron in the Battle of Fayal, and aiding in General Jackson's defense of New Orleans.  Captain Reid and his crew were greeted as heroes.

The Second Flag Act, passed in 1794, stated that the flag would have fifteen stars and fifteen stripes, in response to Vermont and Kentucky being added to the Union.  Knowing that this approach would not be sustainable, with Captain Reid's help, Congress passed the Flag Act of 1818, specifying that the flag should only have thirteen stripes, but should have a star for each state admitted to the Union.  It further specified that the addition of each star should be on the Fourth of July following its respective state's admission. 

Captain Reid played a significant role in the Flag Act of 1818.  He recommended a basic design of thirteen horizontal alternating stripes in honor of the thirteen colonies and a star in honor of each state.  He further recommended several potential star patterns, including twenty stars in the shape of a larger star for general use.  Reid suggested this pattern to make the flag consistent and easily identifiable, particularly at long distances and at sea.  His star pattern recommendation was not ultimately included in the Act, nor was any star pattern, but Captain Reid is universally credited with designing the Great Star pattern.  Its use peaked in the 1840s, but it was also used during the Civil War and occasionally during Centennial Celebrations.  Its last known commercial use was on a thirty-eight star flag.  

The thirty-eight star flag represents the inclusion of Colorado to the Union.  Colorado was admitted on August 1st, 1876 and this flag became official on July 4th, 1877.  Presidents Hayes, Garfield, Arthur, Cleveland, and Harrison all served under this flag.  Colorado became known as the “Centennial State,” a result of becoming official just twenty-eight days after the centennial.  The official star count for US flags in 1876 was the thirty-seven star flag.  However, it was common for flag makers to produce anticipatory flags in advance of their official date, making the thirty-eight star flag—and for historical reasons, the thirteen star flag—the most common flags flown during the centennial celebrations of 1876.      

The nation’s centennial in 1876 inspired patriotism across the county and reunited its citizens.  Cities of all sizes hosted parades and celebrations, and buildings and homes were canvased in red, white, and blue with flags being the primary symbol of national pride.  The most notable celebration was the Centennial International Exposition in Philadelphia.  In just six months, the Exhibition hosted nearly 10 million visitors, and included many extraordinary exhibits, including the introduction of the Corliss Steam Engine and Alexander Graham Bell’s telephone.

The thirty-eight star flag was official until July 4th, 1890, the time at which the forty-three star flag became official and began to represent the inclusion of North Dakota, South Dakota, Montana, Washington, and Idaho to the Union.

Conservation Process: This flag was professionally conserved.  It is sewn to silk and positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).  

Frame: This offering is in a masterfully executed hand-painted faux bois frame.  It dates to between 1830 and 1840.        

Condition Report: This flag exhibits some small tears, but they have been professionally stabilized and masked.  It now presents nearly flawlessly.

Collectability Level: The Best – Perfect for Advanced Collectors  
Date of Origin: 1876-1889 
Number of Stars: 38   
Associated War: The Indian Wars (1860-1890)  
Associated State: Colorado 

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 42.5” x 58” 
Flag Size (H x L): 31.5” x 47”

Offered is a thirty-four star antique flag, printed on cotton.  Its stars are arranged in a 5-6-6-6-6-5 pattern, with notches in the upper-right and lower-right corners.  The stars are tumbling relative to one another, whether viewed via the columns or the rows.

The stripes are closer to orange than red.  The orange is a result of the use of either madder or cochineal to create the red dye, and is common in flags dating between 1850 and 1880.  The orange color of the “red” stripes is attractive and a desirable to collectors.   

The thirty-four star flag represents the inclusion of Kansas to the Union.  Kansas was admitted on January 29th, 1861, and this flag became official on July 4th, 1861.  President Lincoln served, and the Civil War was fought, under this star count.  Many thirty-four star flags predate the first shots of the Civil War in 1861, as flag makers began producing them upon the admission of the Kansas, instead of the time at which the flag was officially admitted to the Union later in the same year.  The thirty-four star flag was official until July 4th 1863, the time at which the thirty-five star flag became official and began to represent the inclusion of West Virginia in the Union. 

Thirty-four and thirty-five star flags were the official flags for the majority of the Civil War, and for this reason, both are extremely collectible.  Flags associated with this time period (1861-1865) and earlier are among the rarest and most desirable of all US flags.  Prior to the Civil War, Americans did not typically display flags for patriotic purposes.  In fact, even the military did not regularly use the flag, as it was not until 1834 that the army field artillery was permitted to carry the traditional US flag, and not until 1841 that regiments carried it.  Instead, most flags prior to the Civil War were used to mark ships, and were massive in scale so as to be seen from large distances. 

The surge in small US flags for patriotic purposes began primarily with onset of the Civil War.  This flag was made during this surge and is a rare survivor.  In fact, this is the only example of this style of flag that we have encountered.   

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: This offering is in our Large Distressed Black and Gold Frame.

Condition Report: There is oxidation and staining across the entirety of the flag.  The most noticeable such issues are (1) below the canton and (2) in a vertical strip, positioned between the canton and the fly edge.  There is a vertical tear through the canton.  There are printing errors across several of the red stripes.  The aforementioned issues are age appropriate and typical of the era.        

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1861-1863  
Number of Stars: 34
Associated War: The Civil War (1861-1865)  
Associated State: Kansas

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 30” x 39.5”
Flag Size (H x L): 19.5” x 28.5”

Offered is an extraordinary thirty-six star American flag, printed on coarse, glazed cotton. This striking example features a highly desirable medallion star pattern, a design that is both visually captivating and historically significant. At the heart of the canton lies a bold center star, encircled by two rings of stars, with additional flanking stars positioned in each corner—creating a stunning and meticulously balanced composition.

MEDALLION FLAGS: A REFLECTION OF AMERICAN PATRIOTISM AND ARTISTIC EXPRESSION
Medallion-patterned flags were a product of their time, appearing most frequently between 1861 and 1876. Unlike today’s standardized designs, nineteenth-century flag makers had the freedom to arrange the stars in any pattern they chose, resulting in highly creative and often elaborate designs. Among these, the medallion configuration was particularly prized, as it created a sense of order and symmetry while also making a bold visual statement.  

Medallion flags were commonly used for patriotic displays, political rallies, and ceremonial occasions. They were typically printed on lightweight cotton or silk, making them more delicate than their wool bunting counterparts, which were more commonly used for military and naval applications. While many medallion-patterned flags were handmade or printed in small batches, their use declined by the late nineteenth century as industrialization led to mass production and increasing standardization. By the 1890s, most flag manufacturers had moved toward linear arrangements, a trend that was eventually codified in 1912 when President William Howard Taft issued Executive Order 1556, which mandated the arrangement of stars into rectilinear rows.

THE CENTER STAR: A SYMBOL OF GROWTH AND UNITY
One of the defining features of this flag is the large, canted center star—a hallmark of some of the most striking nineteenth-century flag designs. Unlike the Great Star pattern, in which a single large star is formed by smaller stars, the center star is a singular, prominent feature placed at the heart of the canton. Historically, the center star was often used to symbolize the most recently admitted state—in this case, Nevada.

Adding to the flag’s rarity, the center star is haloed, featuring a smaller, bold star enclosed within a faint outline. Haloed stars are highly collectible, as this unique design choice appears to have been the hallmark of a single, yet unidentified, manufacturer. This particular maker produced multiple haloed center star flags across different star counts, including examples with thirty, thirty-four, thirty-five, thirty-six, and forty-two stars.

THE DISTINCTIVE STRIPES
Another striking element of this flag is its orange-toned stripes. Instead of the deep crimson we associate with American flags today, the red stripes have taken on a distinctive orange hue. This variation is due to the natural dyes used during the period, primarily madder root and cochineal. Both dyes were commonly used between 1850 and 1880, and their hues could range from deep red to orange, depending on the concentration, mordant, and exposure to light over time. The warm patina of the stripes adds to the overall character of this piece, making it an even more compelling example of early American flag-making.

NEVADA’S PATH TO STATEHOOD
The thirty-six star flag represents the admission of Nevada into the Union on October 31st, 1864, in the midst of the Civil War. However, as was customary, the official adoption of the new star count took place the following July 4th, 1865. This flag was, therefore, the official banner of the United States for the last six months of the war and continued to be used throughout the early Reconstruction era.

Nevada’s road to statehood was both unique and deeply tied to national political and economic concerns. The region was originally part of the Utah Territory when it was established in 1850, but due to increasing tensions between Mormon settlers and non-Mormon mining communities, it was separated and designated as the Nevada Territory in 1861. However, despite its immense mineral wealth—particularly the Comstock Lode, one of the richest silver deposits in the world—Nevada had a small population and did not meet the typical requirements for statehood.

President Abraham Lincoln and congressional Republicans saw great strategic value in admitting Nevada as a state. Politically, Lincoln was seeking re-election in 1864 and needed additional electoral votes to secure victory against his Democratic opponent, General George McClellan. The addition of a Republican-leaning state to the Union would help bolster support for Lincoln’s administration and ensure continued backing for the war effort. Additionally, Nevada’s silver mining industry was crucial to the federal government, as the Civil War had placed enormous financial strain on the nation. The revenue from Nevada’s mines helped finance the Union’s war expenses, making the territory’s inclusion an economic necessity.

Statehood was fast-tracked, with Lincoln urging Nevada’s territorial leaders to draft a state constitution. In an unprecedented move, Nevada’s entire constitution was telegraphed to Washington, D.C., in October 1864, an act that was considered a remarkable technological feat at the time, as it was the longest telegraph transmission ever sent. Just days later, on October 31st, 1864, Lincoln signed the proclamation officially admitting Nevada as the thirty-sixth state.

Following its admission, Nevada’s borders expanded in 1866 when the western portion of Utah Territory was annexed to its eastern boundary. The following year, in 1867, another addition from Pah-Ute County, Arizona Territory, further extended the state’s southern region.

A FLAG THAT BRIDGES TWO ERAS
The thirty-six star flag is significant not only because of its association with the Civil War but also because it marks a transitional period in American history. It was the official flag at the close of the war, flown as Union forces achieved final victory over the Confederacy. It was also present during the beginning of Reconstruction, a complex and contentious era in which the nation grappled with reintegration and the rights of newly freed African Americans.

This flag remained the official U.S. flag until July 4th, 1867, when the thirty-seven star flag was introduced to commemorate Nebraska’s statehood. However, flags with thirty-six stars likely continued to be used well beyond their official tenure, as flag replacement was often slow, particularly in military and civilian contexts.

With its eye-catching medallion pattern, haloed center star, and unique orange-toned stripes, this flag stands out as an exceptional representation of American history. Whether displayed as a collector’s centerpiece, studied for its craftsmanship, or appreciated as a tangible connection to the Civil War and the Reconstruction era, this remarkable example encapsulates the artistry and patriotic fervor of the mid-nineteenth century.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.

Frame: The frame is a blend of contemporary and traditional styles, designed to bring the beauty of nature to any setting. Made in Italy and finished in an opaque black color, it adds a touch of elegance and sophistication to an office, home, or other environment.

Condition Report: This flag exhibits the expected wear and patina of a well-preserved mid-nineteenth-century textile. The cotton shows signs of age, with some staining and discoloration, particularly in the white stripes, which have developed a warm, aged tone. The canton retains strong coloration, though there is some fading and minor fraying along the edges. To enhance its presentation, cotton has been carefully placed behind certain portions of the flag to mask flaws and stabilize areas of wear.  

Collectability Level: The Best – Perfect for Advanced Collectors 
Date of Origin: 1864-1867 
Number of Stars: 36  
Associated War: Civil War (1861-1865)
Associated State: Nevada

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 22” x 25.5” 
Flag Size (H x L): 11” x 15”

Offered is a thirty-four star antique flag printed on glazed cotton.  Its stars are arranged in a 5-6-6-6-6-5 pattern.  The stars in the first and sixth rows are canted in various directions.  In contrast, the stars in the other rows are tumbling relative to one another, creating a dancing effect between the stars as they appear to be partnering and dancing with one another.  When the second through fifth rows are instead viewed as columns, the stars are pointing either consistently upwards or consistently downwards.     

This flag is square in its proportions, instead of elongated.  The First Flag Act of 1777 did not specify the dimensions or proportions of the American flag.  And such freedom extended up until 1912, the time at which President Taft issued Executive Order 1556, establishing official proportions.   

The stripes of this flag are closer to orange than red.  Such a color is a result of the use of either madder or cochineal to create the red dye, and is common in flags dating between 1850 and 1880.  The orange color of the “red” stripes is attractive and a desirable to collectors.   

The thirty-four star flag represents the inclusion of Kansas to the Union.  Kansas was admitted on January 29th, 1861, and this flag became official on July 4th, 1861.  President Lincoln served, and the Civil War was fought, under this star count.  Many thirty-four star flags predate the first shots of the Civil War in 1861, as flag makers began producing them upon the admission of the Kansas, instead of the time at which the flag was officially admitted to the Union later in the same year.  The thirty-four star flag was official until July 4th 1863, the time at which the thirty-five star flag became official and began to represent the inclusion of West Virginia in the Union. 

Thirty-four and thirty-five star flags were the official flags for the majority of the Civil War, and for this reason, both are extremely collectible.  Flags associated with this time period (1861-1865) and earlier are among the rarest and most desirable of all US flags.  Prior to the Civil War, Americans did not typically display flags for patriotic purposes.  In fact, even the military did not regularly use the flag, as it was not until 1834 that the army field artillery was permitted to carry the traditional US flag, and not until 1841 that regiments carried it.  Instead, most flags prior to the Civil War were used to mark ships, and were massive in scale so as to be seen from large distances. 

The surge in small US flags for patriotic purposes began primarily with onset of the Civil War.  This flag was made during this surge and is a rare survivor.  In fact, this is the only example of this style of flag that we have encountered.   

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Optium Museum Acrylic.

Frame: This offering is in a distressed black and silver frame.

Condition Report: This flag exhibits some staining and foxing.  Its stripes and canton are faded.  Despite these issues, this flag displays well and has the Civil War era appearance that our clients desire.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1861-1863  
Number of Stars: 34
Associated War: The Civil War (1861-1865)  
Associated State: Kansas

Frame Size (H x L): 20” x 25.5”
Flag Size (H x L): 11” x 17”

Offered is an extraordinary forty-star parade flag, dating to 1889 and recently found in an antique store intermingled with World War II posters. There are thought to be approximately forty to fifty flags of this star count, nearly all of which have stars arranged linearly. In contrast, the stars of this flag are arranged in a medallion. Its medallion includes a center star, an inner ring of five stars, a middle ring of ten stars, and an outer ring of twenty stars. Four flanking stars surround the outer ring. The stars are all the same size. Of the known forty-star flags, this specific flag is unique in our experience and likely the only remaining example.

Medallion pattern flags date to at least as early as the twenty-six star flag, and at least as late as the forty-eight star flag. The majority of medallion pattern flags, however, date to between 1861 and 1876. Beginning in the 1890s, medallion patterns became less common, and linear arrangements became the norm. Why this occurred is unclear, as flag makers had the freedom to place the stars however they liked until 1912.

In addition to this flag’s unusual pattern, it also includes the following unusual overprint:

FAME COUNCIL,
-No. 10,-
Jr. O.U.A.M.

“Jr. O.U.A.M.” is a reference to the Junior Order of United American Mechanics (“Jr. OUAM”). The Order of United American Mechanics (“OUAM”) was founded in 1845 in Philadelphia. The OUAM was focused on fighting increased labor pressures. The term “Mechanic” was a reference to building one’s self, rather than a reference to the occupation of the members. The Jr. OUAM began as a youth affiliation of the OUAM in 1853, but it seceded in 1885 to become its own organization and later absorbed its parent. Fame Council No. 10 was based in Roxborough, a neighborhood in Philadelphia, Pennsylvania.

J.H. Wilson Company manufactured this flag. It was located at 928 Arch Street in Philadelphia, and it made a variety of military and patriotic related items, including swords, belts, helmets, caps, drums, buttons, gloves, and banners.

J.H. Wilson Company describes flags of this general style as memorial flags of the best quality for decorating graves. They could be ordered with overprints, including custom overprints related to the Grand Army of the Republic (“GAR”). The custom overprints were available in two styles. The first style included custom overprint options in the canton, while the second style included custom overprint options across the stripes. The first and second styles were available in a smaller size of 9” by 15” and a larger size of 12” x 18”. The J.H. Wilson Company also provided the following information in its marketing brochure:

These flags are made of the best heavy muslin, printed in solid OIL COLORS, and are of the best quality and finish throughout.

We mount them on 36-inch solid sticks, which will not warp or break as is the case with the common “split” sticks usually furnished.

In order that the water-proof colors may have ample time to become thoroughly dry, we would request committees to place orders at once, and we will deliver flags when needed.

This flag is shown in a reverse mount orientation. A reverse mount is one in which the canton of a US flag is positioned in the upper-right corner. Current flag ethics state that the canton should always be placed in the upper-left, but such a requirement did not exist in the 19th century. Thus, flags like this one, were manufactured in a manner that appears backwards to today’s viewers.

In 1889, the Dakota Territory was split it into two states: North Dakota and South Dakota, and they were both admitted on November 2nd, 1889. Just six days later, on November 8th, 1889 Montana was admitted as the forty-first state (making the forty-star flag almost immediately obsolete). And then, just three days later, on November 11th, 1889, Washington was admitted as the forty-second states (making the forty-one star flag almost immediately obsolete). As a result of this rapid succession of state admissions, flag makers made large quantities of forty-two star flags, but hardly any forty or forty-one star flags. In fact, there are only a few known examples of printed forty-star flags in circulation, and thus they are very desirable to even the most advanced of collectors.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).

Frame: This offering is in special edition Medium Frame.

Condition Report: As shown in the images, this flag exhibits some slight fading and light toning, but generally is in excellent condition.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1889
Number of Stars: 40
Associated War: Indian Wars (1860-1890)
Associated State: South Dakota

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 42” x 26.5”
Flag Size (H x L): 11” x 16” and Affixed to a 30” Staff

Offered is a thirteen-star homemade flag made of silk, likely dating to the time period between 1876 and 1915.  Homemade flags are amongst the most collectible and interesting of all antique flags.  They were typically made with whatever materials were available, and the placement of the canton, stripes, and stars is often times quite whimsical, even in modern examples.  The flag is affixed to an unusual square staff, unlike a round staff as is typically the case in antique flags.  

Its silk stripes are machine sewn.  From a US perspective, Walter Hunt built one of the earliest practical sewing machines between 1832 and 1834.  Elias Howe later built and patented one in 1846 (see US 4,750), and Isaac Singer then built and patented an improved one in 1851 (see US 8,294).  By 1856, patent allegations in the sewing industry were so numerous, that the "Sewing Machine Combination" was formed, in which Singer, Howe, and others agreed to pool their patents and define licensing arrangements.  By 1860, over 100,000 sewing machines were made in the US alone.  And for this reason, the majority of Civil War flags include at least some machine sewn portions, particularly along their stripes.  Nearly all centennial flags are machine sewn throughout, minus the sewing of their stars, which was still sometimes performed manually.  By 1900, nearly all flags were entirely machine sewn.   

The stars are arranged in a 4-5-4 pattern.  Flags having such a pattern are among the most difficult of all thirteen-star flags to find, and they also have a fantastic visual appeal.  In our experience, of the thirteen-star antique flags that come to market, around 75% are the 3-2-3-2-3 Hopkinson pattern, around 20% are the medallion pattern, and the remaining 5% are various different patterns, including the 4-5-4 and Betsy Ross patterns.  The 4-5-4 pattern is generally encountered in flags dating to the Civil War and earlier.  Because of the prevalence of this pattern in the early 1800s, it may have been used in the first flag design.  Despite this pattern’s early popularity, it was rarely used after the Civil War, not even during the Centennial.     

The stars on this flag have six points, not five, and are affixed with glue.  From 1777 until 1912, stars of the US flag did not have a specified format, such as a specified shape or number of points.  Still, nearly all flags, even prior to 1912, had five points.  Some experts believe that non-five pointed stars may be used in just 1-in-500 to 1-in-1000, antique flags.  Additionally, some experts believe that six pointed stars may indicate that the maker was Jewish, that the maker welcomed those of the Jewish faith, or that the maker had southern sympathies. 

Of additional note, this flag has just eleven stripes.  The inclusion of just eleven stripes (rather than the typical thirteen stripes) may be indicative that this flag was used in the South.  The South would sometimes use the standard US flag, but remove stars or stripes.  Here, the eleven stripes may represent the number of Confederate States that ratified secession.  In some cases, the number of stripes and the points on the stars may simply be a result of the maker's creativity (or even an accident).  However, in the case of this flag, it is logical that the number of points on the stars and the number of stripes are indicative of this being a Southern Civil War flag.    

The original use of the thirteen-star flag dates to June 14th, 1777, the time at which the Continental Congress adopted a resolution creating the first official flag.  The resolution stated, “Resolved, that the flag of the United States be made of thirteen stripes, alternate red and white, that the union be thirteen stars, white on a blue field, representing a new constellation.”  Thirteen-star flags were official from 1777-1795, but have been in use ever since. 

Small US Navy boats used it as the ensign from 1795 until 1916.  Thirteen-star flags were also flown at the time of George Washington’s death in 1799 and to celebrate the nation’s 50th anniversary in 1824.  They were also flown in 1824 in honor of General Lafayette’s return to the US for his nationwide tour.  Celebrations for his Revolutionary War service were held in New York, Boston, and Philadelphia, along with many locations in the southern and western states. 

Further, thirteen-star flags were also common during the Mexican War in 1846-1848 and the Civil War in 1861-1865.  They were both relatively close in time to the revolution, and were very patriotic times, particularly during the Civil War time period when flag use became much more common than had ever previously been the case.  Thirteen-star flags were also flown during the centennial celebrations, which were held across the country and, most notably, in Philadelphia at the Centennial International Exhibition. 

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).

Frame: This offering is in our Large Distressed Black and Gold Frame. 

Condition Report:  The white silk stripes are splitting.  The square wooden staff has some damage, but the damage is to the side of the staff that does not show as framed.  Many collectors prefer flags that show their age and use.      

Collectability Level: The Best – Perfect for Advanced Collectors  
Date of Origin: 1876-1915
Number of Stars: 13
Associated War: The Spanish American War (1898)  
Associated State: Original 13 Colonies

Frame Size (H x L): 25” x 34”
Flag Size (H x L): 14” x 23”

Offered is a thirty-nine star flag with a California bear overprint. It is the first such example that we have encountered, and we believe that it may be the only remaining example. It is made of silk. Its stars are arranged in a 6-7-7-6-7-6 pattern, and they tumble within each row. The stars also appear to spiral outwards when viewed from the center and moving radially outwards therefrom. The canton has a rich blue hue.

Thirty-nine star flags are an oddity in that their star count was never official. They were made at two different times, initially in 1876 and later in 1889. In 1876, before the admission of Colorado, flag makers speculated that an additional territory would also be admitted therewith. Because of this, some flag makers went from making thirty-seven star flags to thirty-nine star versions in 1876 (e.g., in patriotic centennial quilts). Instead, what actually occurred was only Colorado was admitted, and the flag went from thirty-seven stars to thirty-nine in 1876.

Later, in 1889, Congress considered adding the Dakota Territory as a single state, and based on this, some flag makers made anticipatory thirty-nine star flags. What happened, however, was that the Dakota Territory was then split it into two states: North Dakota and South Dakota, and they were both admitted on November 2nd, 1889. This unexpectedly increased the star count, in 1889, from thirty-eight stars to forty stars, not to mention the unexpected increase from forty stars to forty-three stars this same year (i.e., the unexpected inclusion of Montana, Washington, and Idaho). The Flag Act of 1818 specified that the addition of each star should be on the Fourth of July following a state’s admission to the Union. Because North Dakota, South Dakota, Montana, Washington, and Idaho were all admitted in 1889, the official star count of the official US flag increased from thirty-eight to forty-three in just a single year. Despite this, flag makers made thirty-nine star anticipatory flags based on incorrect assumptions of how and when new states would be admitted to the Union.

The most striking visual feature of this flag is its bear and “CALIFORNIA” overprint, both of which are in gold. The bear is highly detailed (e.g., its fur coat, claws, and yet), yet simultaneously crude and antiquated. In contrast, in modern California state flags, the bear is plain in his appearance and proportions.

The original bear flag was designed in Sonoma, California in 1846 by a small group of ranchers and adventurers, including William L. Todd, a cousin of Mary Todd Lincoln. In what was then Mexican California, they captured the city of Sonoma from the Mexican Government. The Republic of California was formed, and the group designed its flag with a star, bear, a red stripe, and "California Republic" printed across its field. The inspiration for the star was the 1836 California Lone Star flag, and the inspiration for the bear was its image of strength.

In a letter written by Mr. Todd, he noted that the red stripe was made with a strip of flannel taken from a petticoat worn across the mountains, that the bear and star was painted with linseed oil and venetian red, and that “California Republic” was written in ink. Shortly after the first bear flag was designed and used, it was replaced with the US flag. The first bear flag was eventually preserved at the Society's Pioneer Halls in San Francisco until it was destroyed, in 1906, in the fires following the great San Francisco earthquake.

The Bear Flag became the official state flag in 1911. Its bear is based on an actual bear named "Monarch," who was displayed at the Golden Gate Park. Following his life, Monarch was mounted and is now on display at the California Academy of Sciences.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).

Frame: This offering is in our Large Distressed Gold Frame.

Condition Report: There is foxing throughout its surface. There are a plurality of stains surrounding the bear, the most notable of which is above him. There are two small tears positioned near the bottom left corner, and there is another small tear (i.e., hole) near the upper right corner. Overall, this flag is attractive, and its condition issues are acceptable, particularly given its outstanding overprint and rarity.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1876-1889
Number of Stars: 39
Associated War: Indian Wars (1860-1890)
Associated State: North Dakota and California

Frame Size (H x L): 22” x 29”
Flag Size (H x L): 11.5” x 18”

Offered is a thirty-six star antique flag printed on coarse glazed cotton.  It is a medium sized flag that is big enough to make a statement, yet small enough that it can be displayed almost anywhere.

The stars of this flag are in a whimsical medallion configuration.  Upon initial inspection, the stars thereof appear to be arranged randomly.  But upon closer inspection, the inner stars of the medallion are arranged purposely, so as to define a “Grand Luminary” configuration.  This combination—basically, a medallion that defines a Grand Luminary, not to mention the flanking corner stars—is amongst the most rare and desirable configurations one will ever encounter.   

The Grand Luminary configuration is a large star made of smaller stars.  The smaller stars may be a variety of sizes, and they may be canted in a variety of directions.  Such a configuration was for a time perfectly acceptable, as prior to an Executive Order in 1912, flag makers were free to place the stars however they wished. 

US Naval Captain Samuel Reid is credited with designing the Grand Luminary configuration in 1818.  Reid was an officer in the US Navy and commanded the privateer General Armstrong during the War of 1812.  Andrew Jackson credited Reid's heroism in delaying the British Squadron in the Battle of Fayal and aiding in General Jackson's defense of New Orleans.  Reid and his crew were considered heroes. 

The Second Flag Act, passed in 1794, stated that the flag would have fifteen stars and fifteen stripes, in response to Vermont and Kentucky being added to the Union.  Knowing that this approach would be unsustainable, with Reid's help, Congress passed the Flag Act of 1818, specifying that the flag should have thirteen stripes and a star for each state admitted to the Union.  It further specified that the addition of each star should be on the Fourth of July following each respective state's admission. 

Reid played a significant role in the Flag Act of 1818, and in doing so, he recommended several potential star configurations, including twenty stars in the shape of a larger star for general use.  Reid suggested this configuration to make the flag consistent and easily identifiable, particularly at long distances and at sea.  His star configuration recommendation was not ultimately included in the Act, nor was any star configuration, but still Reid is universally credited with designing the Grand Luminary.  Its use peaked in the 1840s, but it was also used during the Civil War and occasionally during Centennial Celebrations.  Its last known commercial use was on thirty-eight star flags.

Thirty-six star flags represent the inclusion of Nevada to the Union, and such flags were waved in celebration of the conclusion of the Civil War.  Nevada was admitted on October 31st, 1864, and this flag became official on July 4th, 1865.  Nevada was originally part of the Utah Territory beginning in 1850, became its own territory in 1861, and became its own state in 1864.

The timing of Nevada's inclusion was politically and economically based.  For political reasons, Nevada was admitted to the Union just eight days prior to President Lincoln's re-election bid against General George McClellan.  Such timing was meant to benefit Lincoln and his fellow Republicans.  For economic reasons, Nevada was included as part of the Union to help it pay off the country’s war debts.  Economically, Nevada was particularly attractive at the time, because of its significant silver mining industry.  Nevada expanded its borders in 1866 when the western Utah Territory was added to its eastern side, and further expanded in 1867 when a portion Pah-Ute County in the Arizona Territory was added to its southern side. 

The thirty-six star flag was the official flag for the last six months of the Civil War, and was used by the military during that time.  It was also the official flag during a portion of the Reconstruction era.  The thirty-six star flag was official until July 4th, 1867, the time at which the thirty-seven star flag became official and began to represent the inclusion of Nebraska in the Union.

Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash.  The flag is positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).

Frame: This flag is in a multitiered frame with an outer walnut layer and an inner gilded layer.  It dates to between 1860 and 1890. 

Condition Report: There is a small tear that runs parallel to the hoist edge.  The small tear begins at the bottom edge and extends approximately two inches.  We masked the tear with old glazed cotton.  Thus, the tear has been camouflaged.  There is minor fading through the blue canton and the red stripes.  There is notable fading located across the top of the canton.  Further, there is notable fading and staining that is vertically oriented near the fly end (i.e., the 20% closest thereto).  This flag was likely rolled and placed into storage.  Over time, the outermost portion of the roll was damaged, while the innermost portion was protected.  Such damage is encountered in many antique flags, because they were easiest to store in this fashion, particularly those of which that were attached to a staff.  Its overall appearance is age appropriate and extremely attractive.  Simply put, this is the appearance that collectors desire.        

Collectability Level: The Best – Perfect for Advanced Collectors 
Date of Origin: 1864-1867 
Number of Stars: 36  
Associated War: Civil War (1861-1865)
Associated State: Nevada

Frame Size (H x L): 28.5” x 22.5” 
Broadside Size (H x L): 18” x 12”

Offered is a striking broadside, dating to 1878, advertising the celebrated imported Norman Stallion, King Williams, owned by J. Wilson Richmond of Tazewell County, Illinois.  It is one of the best broadsides that we have ever encountered and quite unusual, in part because of its outstanding subject matter and in part because it is printed on cotton.  The broadside features a portrait King Williams and states the following:

The Celebrated Imported Norman Stallion.

KING WILLIAM!
Will be kept again at the residence of Wilson Richmond, nine miles east of Delavan, Tazewell County, Illinois for the season of 1878. 

DESCRIPTION:
This celebrated horse is one of the largest and most powerful draft horses that has ever been imported from Europe, his weight being over 2,000 pounds; his bone and muscle and symmetry is not surpassed by any, and he has proved to be one of the best breeders that has ever been kept in Central Illinois.  He is a dark dapple gray, and stands near eighteen hands high. 

TERMS:
I will say to whom it may concern that this horse will be allowed to serve mares for the low sum of ten dollars for the season, the money due at the expiration of the season. 

BEAR IN MIND, THE BEST IS THE CHEAPEST.

J.W. RICHMOND.

Pantagraph Print, Bloomington, Ill. 

Pantagraph Print, most recently referred to as Pantagraph Printing and Stationery, was founded in 1860 and located at 217 W. Jefferson Street in Bloomington, Illinois.  It closed in December of 2020. 

J.W. Richmond’s remarkable biography, as recorded in 1900 in the Biographical Record of Champaign County, Illinois, is as follows:

J.W. RICHMOND, of Fisher, Champaign county, needs no introduction to the people of this section of the state, as he has been actively engaged in farming and stock raising here for many years, and has made an enviable reputation as a keen financier and business man.  The history of a successful man is always of interest to the public, and the hosts of friends of Mr. Richmond will be especially desirous of tracing his career and noting some of the features of his character as shown by the masterly way in which he overcame difficulties and wrought his own prosperity unaided by others.

To one knowing the patriotic spirit of Mr. Richmond it is no surprise to learn that he comes of the grand old Revolutionary stock, and that his great grand-father, Colonel Frank Richmond, was one of those heroes who laid life and fortune and all personal aims and ambitions upon the altar of his country, resolved to sacrifice everything, if necessary, for the triumph of the principles of justice and liberty in which be believed.  The gallant colonel, who owned goodly estates in Virginia, his native state, won his title by long and meritorious service in Washington’s army, and not until victory had lighted upon our banners did he sheath his sword.  Quite as patriotic service was performed by him in his voluntary contribution of more than one thousand head of horses and cattle to the struggling young government.  When peace had been proclaimed he returned to his quiet life as a country gentleman, and passed his last days upon his old plantation, secure in his dear bought liberty.  Tradition says that the city of Richmond, Virginia, was named in honor of the Richmond who first settled in the state of Virginia, the family being very prominent at the time. 

Joseph, son of Colonel Richmond, was born at the old Virginia home, and having been reared in the principle that country has the first claim upon a loyal citizen it is not strange that he, too, took up the old musket which his father had carried in the Revolution, and went forth to meet the same foe in the war of 1812.  Later he went to the new state of Ohio, and settled upon a tract of land in Muskingum county.  He married there, and his son, Wilson, father of our subject, was born on the old homestead cleared in the midst of the forest, the date of the event being September 9, 1815.  In 1830 the family removed to Illinois, where the father had been granted some land in consideration of the services rendered in the second war with Great Britain.  This property was located in Tazewell county, and here, on the prairies, swept by the keen winter winds from the great northwest, the pioneers found that they had many difficulties to meet, which had not been included in their experience hitherto.  In 1831, the winter of the “big snow,” as the early settlers termed it, the husband and father perished with the cold while returning home from a trip to Mackinaw, then the county seat.  Thus the care of the family devolved largely upon Wilson Richmond, who was the eldest of the seven surviving children.  He nobly aided his mother in the task of rearing the younger brothers and sisters, and when he felt free to establish a home for himself he wedded Mary Judy, daughter of John Judy, both natives of Ohio.  Mr. Judy was a veteran of the war of 1812, and was one of the first settlers of Tazewell county.  It is a pleasure to record that success blessed nearly every undertaking of Wilson Richmond, and that by honest toil and well directed energy he became wealthy and extremely influential in Tazewell county, where he is yet living, hale and happy, despite his eighty-five years.  During the Civil War he was extensively engaged in the raising of sheep, annually selling from fifteen hundred to two thousand fleeces, and, as cotton could not be cultivated in the south to any extent for several years, his product him handsome income.  Gradually buying real estate, he at length was the possessor of about fifteen hundred acres of fine farm land. 

J.W. Richmond, whose birth occurred on his father’s farm in Tazewll county, February 26, 1845, early acquired familiarity with agriculture in all its departments, and from the time that he was fifteen years of age until he left home, in 1845, he superintended his father’s large homestead.  At intervals he invested in land upon his own account, and owned in the neighborhood of eighteen hundred acres of fine farm property when he came to Champaign county as a permanent resident, at the time of his marriage.  He has improved several farms since then and at the present time is the proprietor of about three thousand acres of land, most of this being located within the boundaries in the best districts of Iowa, Indiana, Nebraska, and Kansas. 

More than a quarter of a century ago, J.W. Richmond determined to devote some attention to the matter of raising and dealing in high grade horses and cattle.  In 1874 he made his first trip to Europe, and brought back some fine Percheron horses.  Later he imported coach and Shire horses in large numbers and, altogether, has made five journeys to the old world, traveling through England, Germany, France, Belgium and Holland.  He owns some famous blue grass pasture land along the Sangamon river, and for many years has made a business of feeding cattle for the market, selling from one hundred to one hundred and seventy head of stock each year. 

Sixteen years ago Mr. Richmond and Nora Havenhill were married in New York.  She was born in Monroe, Kendall county, Illinois, and is a daughter of Hiram Havenhill, a pioneer of Tazewell county, and late a resident of Kendall county, this state.  Four children bless the home of our subject and wife, namely: Wilson, Lelia, Cummings, and Arthur Dean. 

Since becoming a citizen of Fisher, Mr. Richmond has made five additions to the town, and in numerous substantial ways has increased the prosperity of the place.  He is a stanch Republican, but in no sense the word is a politician, and has resolutely declined to hold office.  In the Masonic fraternity he stands high, and has attained the Knight Templar degree, being identified with the Urbana Commandery.

Conservation Process: This broadside was hand sewn to cotton fabric, and both were hand sewn to a mounting board.  To prevent the black dye in the cotton fabric from seeping into the broadside, it was first washed in a standard wash and then in a dye setting wash.  The broadside is positioned behind Optium Museum Acrylic.

Frame: The broadside is in a fine oak frame that dates to approximately 1885.       

Condition: As shown in the images, there are light stains across the surface of the broadside.  There is an ink stain along the top edge.  The ink stain is likely associated with the printing of the broadside (i.e., a printing error).  Overall, it is striking and attractive.

Collectability Level: The Best – Perfect for Advanced Collectors  
Date of Origin: 1878