Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 30.5” x 19”
Pennant Size (H x L): 17” x 8.25” with 4.75” ties
Offered is a rare political campaign pennant produced for Ohio's landmark 1915 statewide prohibition referendum, boldly printed "MAKE OHIO DRY 1915" in white lettering against an orange wool felt field. The pennant is of classic early twentieth-century construction, with a tapered felt body, stitched blue felt binding across the hoist, and matching blue felt ties designed for attachment to clothing, a vehicle, or display at rallies and public gatherings. Intended as a highly visible campaign accessory, it represents one of the more recognizable surviving slogans associated with Ohio's statewide prohibition movement.
The pennant survives with two original identifying labels, an unusual and important feature that documents both the organization responsible for the campaign and the Columbus firm that produced or supplied the piece. Sewn beneath the blue felt binding on the front is a printed label reading:
State Central Committee
County Dry Federations
701 Wyandotte Bldg.
Columbus, O.
Rather than identifying a commercial maker, this label attributes the pennant to the statewide committee representing Ohio's network of County Dry Federations. Contemporary records confirm that county dry federations operated throughout Ohio during this period, bringing together churches, temperance organizations, civic leaders, and local supporters in a coordinated effort to secure statewide prohibition. While the Ohio Anti-Saloon League remained the movement's best-known organization, period publications demonstrate that the statewide campaign functioned as a broad coalition of cooperating groups rather than a single organization acting alone. The committee headquartered in Columbus coordinated these county organizations during the statewide referendum campaign of 1915.
The Columbus address itself is noteworthy. The committee occupied offices in the Wyandotte Building, one of the city's most prominent commercial office buildings. Completed in 1898 and designed by Daniel Burnham & Company, the steel-frame structure was Columbus's first skyscraper and remained among the city's premier business addresses during the early twentieth century. Housing the campaign headquarters in the Wyandotte Building reflects the organized, professional character of the prohibition movement, which by 1915 had developed an extensive statewide administrative structure capable of coordinating thousands of local volunteers and supporters.
Equally important is the original label retained on the reverse, identifying:
Shipley & Company
Advertising Specialists
Columbus, Ohio
Contemporary Columbus city directories and period advertising establish Shipley & Company as one of the city's leading advertising specialty firms. The company supplied a remarkably broad range of custom promotional merchandise, including banners, badges, calendars, celluloid novelties, leather goods, metal souvenirs, and other advertising specialties produced for businesses, civic organizations, and political campaigns. Their own advertising promoted custom souvenirs among their principal offerings, making the firm a logical supplier for campaign material such as this pennant. The presence of both original labels provides an uncommon level of documentation, identifying not only the organization responsible for distributing the pennant but also the Columbus advertising firm that produced or supplied it.
The campaign represented by this pennant sought to unite a diverse cross-section of Ohio society. Contemporary publications identify ministers, businessmen, educators, farmers, labor representatives, members of the Woman's Christian Temperance Union, and other civic leaders among those directing the statewide effort. One such figure was Worthington Kautzman of Columbus, a prominent businessman and former Adjutant General of Ohio, whose name appears in contemporary campaign literature associated with the movement. Rather than functioning as a narrow political organization, the campaign emphasized cooperation among the various "dry" organizations operating throughout the state, a theme repeatedly stressed in contemporary publications.
The significance of this pennant extends beyond the unsuccessful referendum of 1915. Although Ohio voters rejected the proposed constitutional amendment that November, the campaign itself did not end. Instead, the statewide organization remained intact, retaining the familiar "Make Ohio Dry" slogan and continuing under campaign manager James A. White. Publications issued by the Ohio Dry Federation in 1917 demonstrate the direct continuation of the movement, describing the cooperation between county chairmen, the Ohio Dry Federation, and the Ohio Anti-Saloon League as they prepared a renewed statewide campaign. That effort proved successful. In November 1918, Ohio voters approved statewide prohibition legislation, making Ohio a dry state months before national prohibition took effect. The following January, Ohio became one of the states to ratify the Eighteenth Amendment to the United States Constitution, helping secure the national prohibition of intoxicating liquor, which went into effect on January 17, 1920.
As a result, this pennant represents more than a souvenir of a single political campaign. It is an artifact from the opening phase of the movement that ultimately transformed Ohio law and contributed directly to one of the most significant constitutional changes in American history. Political textiles documenting statewide reform campaigns are encountered far less frequently than those associated with presidential elections, and examples retaining original organizational and maker's labels are rarer still. Combining bold graphic appeal with exceptional historical documentation, this is an outstanding surviving example from Ohio's determined campaign to "Make Ohio Dry."
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, it was first washed in a standard wash and then in a dye setting wash. The pennant is positioned behind Optium Museum Acrylic.
Frame: The pennant has been presented in an Italian molding with a broad, flat profile and a satin black finish. Crisp, clean lines and gently beveled inner and outer edges lend the frame a refined, understated appearance that complements the textile without competing for attention.
Condition Report: There is modest, expected wear from age and use, accompanied by scattered soiling and oxidation throughout the felt, particularly along the blue binding and ties. Minor age-related crazing is present in the printed white lettering, with light surface wear elsewhere, while the original organizational label remains intact. Despite this honest wear, the pennant retains outstanding visual impact and displays exceptionally well.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1915
Frame Size (H x L): 37.5” x 52”
Flag Size (H x L): 27” x 41”
Offered is a 13-star American yacht ensign, made by Annin & Co. and bearing the firm's “Sterling” trademark, produced between 1913 and 1926. Constructed of wool bunting with cotton-appliqued stars and anchor, the flag represents an early 20th century example of one of America's most recognizable maritime signals. It was intended for active use aboard a pleasure craft and survives with its original brass grommets and maker's mark intact.
The canton is made of dark navy wool bunting and displays a fouled anchor surrounded by a wreath of thirteen stars. Both the stars and anchor are fashioned from cotton and are applied with zig-zag machine stitching. The red and white stripes are made of wool bunting and joined with machine stitching throughout. The hoist is bound in a heavy plain-weave cotton heading fitted with brass grommets. Along the hoist appears a tag stating the following:
STERLING
REG. U.S. PAT. OFF.
ALL WOOL DOUBLE WARP
BUNTING
“Sterling” was a trademark of Annin, America's oldest and longest-operating flag manufacturer. The trademark was formally registered for bunting in 1913. A July 5th, 1913 trade publication notice records that “Annin Co., New York, N.Y.” had been granted registration of the word “Sterling” as a trademark for bunting. By 1917 the trademark was appearing in national advertising, and by the early 1920's Annin was actively promoting Sterling as its premium grade of all-wool bunting. The presence of the Sterling mark establishes a firm earliest possible date of 1913, while the overall construction and materials suggest manufacture during the period extending through the mid-1920's.
Founded in New York City in 1847, Annin is recognized as the nation's oldest flag manufacturer and remains in operation today. The company supplied flags for military, governmental, maritime, commercial, and patriotic use throughout the nineteenth and twentieth centuries, earning a reputation for quality construction and innovation in flag-making. During the early twentieth century, Annin expanded significantly, establishing a major manufacturing facility in Verona, New Jersey, while maintaining offices and production operations in New York. The firm's products were widely distributed throughout the United States, and its branded lines, such as Sterling, reflected a commitment to producing premium-grade flags for demanding outdoor service.
The yacht ensign occupies a unique place in American maritime history. Although often mistaken for a naval flag, it was developed for civilian recreational vessels. The design combines the familiar thirteen-star arrangement associated with America's earliest national flags with a fouled anchor, the traditional symbol of maritime service and seamanship. The thirteen stars reference the original colonies and the nation's founding era, while the anchor communicates a connection to navigation, commerce, and life at sea.
The origins of the yacht ensign date to the nineteenth century and are tied to the growing popularity of recreational boating among America's expanding middle and upper classes. In 1848 Congress granted vessels enrolled in qualifying yacht clubs the privilege of flying a distinctive ensign featuring a fouled anchor within the canton. The purpose was practical as well as symbolic. The special ensign identified pleasure craft that were exempt from certain customs inspections and distinguished privately owned yachts from commercial vessels. As boating culture expanded during the late nineteenth and early twentieth centuries, the yacht ensign became one of the most familiar and enduring symbols of American recreational sailing.
By the turn of the twentieth century, yacht ensigns were widely available through commercial makers such as Annin, who produced examples in a variety of sizes for use aboard everything from small launches to substantial sailing yachts. Examples intended for active service were typically constructed of wool bunting, then considered the preferred material for outdoor flags because of its strength, relatively light weight, and ability to shed wind. Cotton elements were commonly used for appliqued devices and stars, while reinforced cotton headings and brass grommets provided durability at the point of greatest stress.
The present example displays all of the characteristics collectors associate with quality commercial manufacture during the period. The wool bunting remains attractive in color, the cotton anchor and stars are crisply executed, and the heavy plain-weave cotton heading reflects a higher-grade construction than the lighter twill bindings often encountered on lesser examples. Particularly noteworthy is the Sterling trademark, which links the flag to Annin's premium wool bunting line and provides a useful point of reference for dating.
Today, antique yacht ensigns are collected both for their maritime associations and for their visual appeal. The combination of the fouled anchor and thirteen-star configuration creates one of the most distinctive flag designs employed in the United States. Their connection to America's boating traditions, combined with the symbolism of the nation's founding era, makes them equally at home in collections focused on maritime history, early American symbolism, patriotic textiles, or decorative 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 frame is a dark-stained hardwood molding with a clean square profile and subtle variations in grain and tone that lend warmth and visual depth.
Condition Report: There is minor soiling and scattered small dark stains in limited areas, accompanied by a few tiny losses and areas of wear consistent with age and use. A small pink stain is present on the cotton hoist. The colors remain vibrant, the wool bunting retains strong integrity, and the flag presents beautifully overall. The brass grommets, Sterling maker's mark, and all primary design elements remain intact.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1913-1926
Number of Stars: 13
Associated War: World War I (1914-1918)
Associated State: Original 13 Colonies
Frame Size (H x L): 33” x 32”
Flag Size (H x L): 22.5” x 21”
Offered is a rare and visually compelling 38-star American flag bandanna, produced in silk and rendered in the form of the Stars & Stripes, with the printed flag itself inset within a larger square field. The format possesses exceptional visual balance, with broad margins surrounding the printed design that reinforce its presentation as both a textile and a patriotic object. Two horizontal seams and two vertical seams, all machine-sewn, join the silk panels together, lending the piece a distinctly period method of construction and underscoring its manufacture during the late 19th century.
The star configuration is among the bandanna’s most memorable and attractive features. At its center is a large, canted star representing Colorado, the newest state admitted to the Union at the time the design originated. This oversized center star is encircled by a wreath of eleven smaller stars, creating a medallion-like presentation. Flanking this central device are four additional stars, while linear groupings of stars to the left and right create the impression of enclosing brackets or a squared framework around the central medallion. The arrangement is highly unusual and visually dynamic, balancing formal structure with folk-like irregularity. The stars are canted in various directions rather than mechanically aligned, and their forms vary subtly in proportion and execution, adding both movement and charm. Such variation is highly desirable among collectors, as it reflects the more artistic and less standardized production methods of the period.
The canton is paired with bold red stripes that have mellowed beautifully over time, taking on the warm orange-red cast often encountered in 19th century textiles. This transformation is especially attractive here, contrasting wonderfully against the soft blue canton and creamy silk ground. The resulting palette is considerably more nuanced than the stark primary coloration associated with later printed flags and contributes substantially to the textile’s visual appeal.
This exact variety is illustrated as item number 637 in Threads of History: Americana Recorded on Cloth, 1775 to the Present, the landmark exhibition catalogue produced in association with the Smithsonian Institution. For collectors unfamiliar with the publication, Threads of History is widely regarded as one of the most important references ever produced on American political textiles, parade flags, kerchiefs, and related patriotic cloth objects. Compiled by Herbert Ridgeway Collins and published in conjunction with the Smithsonian’s major bicentennial-era exhibition, the work documented some of the finest and most historically significant textiles known at the time. Inclusion within its pages represents an important point of scholarly recognition.
The catalogue notes that this bandanna was “used in the political campaign of 1888,” and another closely related example is illustrated nearby as item number 636. That counterpart employs a different flag and star configuration, yet shares the same general format, dimensions, and construction, suggesting that the two likely originated from the same manufacturer or workshop. The relationship between the two textiles provides an especially interesting glimpse into the diversity of patriotic printed goods produced during the period. Rather than relying upon a single standardized design, makers experimented with varying star arrangements and visual compositions while maintaining the same overall concept and scale.
The proposed 1888 campaign association places this textile within one of the more contentious presidential elections of the late 19th century. The election pitted incumbent President Grover Cleveland, the Democrat, against Republican challenger Benjamin Harrison. Tariff policy emerged as the defining issue of the campaign, with Cleveland advocating lower tariffs and Harrison supporting protective measures intended to bolster American industry. Although Cleveland won the national popular vote, Harrison secured victory in the Electoral College. The campaign unfolded during a period of rapid industrialization, expanding rail networks, and growing national identity, conditions that fueled demand for patriotic imagery and political textiles alike. Objects such as this bandanna occupied a unique space between political memorabilia and decorative Americana, serving both as expressions of patriotism and as tangible artifacts of campaign culture.
Its square proportions are particularly appealing. Unlike many parade flags and kerchiefs that feel visually elongated, this example possesses a balanced, almost architectural presentation that allows the star configuration to command attention without overwhelming the striped field. The inset format further heightens this effect, creating a framed composition within the textile itself. Combined with the medallion-style arrangement of stars, the result is exceptionally graphic and immediately recognizable from across a room.
The 38-star count on this flag reflects 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 path to statehood began with the establishment of the Colorado Territory in 1861, spurred by the Pike’s Peak Gold Rush, which brought a dramatic influx of settlers to the region. Early efforts toward statehood met setbacks, including a veto by President Andrew Johnson in the 1860s, but renewed momentum in the mid-1870s ultimately culminated in Colorado’s official admission as the nation’s 38th state.
Although the 38-star flag did not become official until July 4th, 1877, flag makers frequently produced anticipatory examples ahead of official adoption. These flags played a major role during the Centennial celebrations of 1876, alongside revival designs featuring 13 stars in homage to the original colonies. The Centennial year proved to be a defining moment in American visual culture, fostering renewed patriotism and unity following the divisions of the Civil War. Homes, businesses, parade grounds, and public buildings were adorned with red, white, and blue decoration, and flags became the centerpiece of this widespread national expression.
The Centennial International Exposition in Philadelphia served as the focal point of these celebrations, attracting nearly ten million visitors between May and November of 1876. The exposition showcased American innovation on a grand scale, introducing many visitors to technological marvels such as Alexander Graham Bell’s telephone and the enormous Corliss Steam Engine. Within this atmosphere of patriotic enthusiasm and industrial optimism, the production of decorative flag textiles flourished.
The 38-star flag officially served from July 4th, 1877, until July 4th, 1890, spanning the administrations of Presidents Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. It represented a nation undergoing dramatic transformation through westward expansion, mining booms, railroad construction, and accelerating industrial growth. In 1890, the admission of North Dakota, South Dakota, Montana, Washington, and Idaho necessitated adoption of the 43-star flag, bringing the 38-star era to a close. Today, surviving textiles from this period remain especially prized among collectors for their inventive medallion configurations, strong folk qualities, and close association with the Centennial era, one of the most visually dynamic and patriotic periods in American flag history.
Conservation Process: This bandanna 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 bandanna, it was first washed in a standard wash and then in a dye setting wash. The bandanna is positioned behind Optium Museum Acrylic.
Frame: This offering is in our Large Distressed Gold Frame.
Condition Report: The silk exhibits modest to moderate age-related wear, accompanied by minor soiling, scattered pigment loss, and areas of thinning consistent with the textile’s age and delicate nature. There is gentle creasing throughout, accompanied by minor irregularities along the edges and at the seams. The printed coloration has softened beautifully over time, with the red pigments mellowing to an especially attractive orange-red tone. Overall, the bandanna presents exceptionally well, with strong visual impact and remarkable survivability for a late 19th century silk textile.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1888
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Frame Size (H x L): 28.5” x 13”
Flag Size (H x L): 4” x 5.75”
Offered is a rare and engaging group of four mid-20th century rowing pennants, produced for competition at Eton College and dating from 1948 through 1951. Hand-lettered on fabric and originally mounted to small staffs, these flags document the progress of a single oarsman—identified throughout as “D. Cole”—within one of the most tradition-rich athletic systems in the world.
Founded in 1440 by King Henry VI, Eton College stands among the most storied educational institutions globally. Though termed a “public school” in England, it is in fact an elite, all-boys boarding school, long associated with Britain’s political and cultural leadership. For American audiences, it may be best understood as a hybrid of a top preparatory academy and a historic institution of national identity. Its traditions are both preserved and performed—uniforms, ceremonies, and hierarchies remaining largely intact across centuries. Its alumni include numerous British prime ministers, among them Boris Johnson and David Cameron, as well as literary figures such as George Orwell.
Rowing occupies a central place within this culture. Situated along the River Thames, Eton developed one of the most competitive and structured schoolboy rowing programs in existence. Under the auspices of the Eton College Boat Club, students are organized into multiple crews by age, experience, and ability, competing both internally and in prestigious external events such as the Henley Royal Regatta. Advancement through these crews is a defining aspect of student life, reflecting discipline, endurance, and status within the school.
The present group captures this progression in tangible form. Each flag records a specific race, division, and outcome, offering a concise but remarkably vivid record of participation:
The earliest example, dated 1948, is inscribed “Lower Boy Pulling, 3rd in Final,” and lists the full crew by position, including bow, stroke, and coxswain. In rowing terms, “Lower Boy” denotes a younger division, indicating early participation. The fabric is a natural, undyed tone, with hand-painted lettering in a pale gold or cream pigment, and a roughly finished edge that suggests utilitarian production.
The 1949 flag, labeled “Novice Eights,” reflects the next stage. An “eight” refers to a boat crewed by eight rowers plus a coxswain, and “novice” indicates limited prior experience. The large letter “D” identifies the specific crew within the broader field—Eton commonly designates its multiple boats alphabetically. Again, the crew placed third in the final, and D. Cole appears in seat five, a central rowing position.
By 1950, the inscription reads “Lower Eights, Senior Division, C Crew.” This indicates advancement into a more competitive grouping, with “Senior Division” suggesting increased experience and performance level. The flag retains the same general format—hand-lettered text on a plain fabric ground—but shows slightly deeper coloration, likely from age or variation in material.
The final example, dated 1951, is the most visually distinctive. Titled “Eton College Scratch Heavy Fours,” it refers to a four-man boat assembled for a specific event (“scratch” meaning not a fixed crew). The two-tone coloration—light above and a reddish lower field—may relate to crew or event designation. Unlike the others, this flag records a victory: “Won by 2 Lengths.” It also references “Eton Mission R.C.,” a charitable rowing initiative associated with the school’s outreach efforts in London. The full crew is again listed, with D. Cole returning to the bow position.
Across all four examples, the consistent presence of D. Cole allows the group to be understood not merely as isolated artifacts, but as a cohesive record of athletic development over time—moving from junior to more advanced divisions within a highly structured system.
Taken together, these pennants offer a compelling intersection of sport, education, and social history. They speak to the traditions of Eton College, the discipline of competitive rowing, and the personal narrative of a student progressing through both. At once modest in scale and rich in context, they represent the sort of “gentleman’s antique” that resonates through association—where institution, tradition, and lived experience converge in a quietly meaningful way.
Conservation Process: The 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 features a broad, flat face with a clean, squared profile and a gently stepped inner rabbet, finished in a deep walnut tone.
Condition Report: The 1948 example shows moderate fraying along the hoist edge, with minor scattered staining and light surface soiling, consistent with use. The 1949 flag exhibits similar edge wear, along with areas of discoloration and toning to the fabric, particularly toward the right side. The 1950 example presents with more pronounced overall toning and light surface wear, though the lettering remains clear and legible. The 1951 pennant, the most visually distinctive, shows expected wear at the edges and some color variation and minor staining, particularly along the upper right, consistent with age and handling.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1948-1951
Frame Size (H x L): 16.75” x 22”
Flag Size (H x L): 9” x 14”
Offered is a 38-star American parade flag, printed on glazed cotton and overprinted for MEMORIAL DAY with a secondary, stamped overprint, referencing Stannard Post No. 2 of the Grand Army of the Republic (G.A.R.), dated 1884.
The canton displays a 7-6-6-6-6-7 star configuration, with stars arranged in generally linear rows and canted in varying directions, lending a lively, almost animated quality to the field. The stripes present in a particularly attractive orange-red tone, a result of period pigments and printing techniques, and provide strong visual contrast against the blue canton. Across the striped field appears the boldly applied, all-capital MEMORIAL DAY overprint, printed at a slight angle. The typography is somewhat crude, yet visually compelling, with additional text reading “Stannard Post No. 2 G.A.R.” and the date “1884,” offering the rare advantage of a clearly documented moment of use. This is the first example of this specific overprint and flag that we have encountered.
The presence of the MEMORIAL DAY overprint, combined with the identification of Stannard Post No. 2, firmly anchors this flag within the culture of Civil War remembrance. The Grand Army of the Republic, founded in 1866, was the leading fraternal organization of Union veterans, and its posts were deeply involved in the establishment and perpetuation of Memorial Day observances across the United States. These events were among the most important civic rituals of the late 19th century, involving parades, cemetery ceremonies, speeches, and the decoration of soldiers’ graves. Flags such as this were produced for precisely these occasions, often in limited quantities and for local use, which contributes to their rarity today.
Stannard Post No. 2 was located in Burlington, Vermont, and was named in honor of General George Jerrison Stannard, a Union officer best known for his leadership at the Battle of Gettysburg. The identification of a specific G.A.R. post is particularly desirable, as it ties the object to a defined community of veterans and a known geographic location. Unlike generic patriotic flags, this example was created for a specific group and event, elevating both its historical and interpretive value.
Of further interest is documentary evidence connecting the post to its membership. Period records, including the obituary of Leander W. Freeman, identify him as a member of Stannard Post No. 2. Freeman, an African American veteran who served in Company F of the 54th Massachusetts Colored Volunteers, represents an important and often underrepresented dimension of G.A.R. membership. His presence within the post underscores the degree to which African American veterans participated in these organizations and in Memorial Day observances, particularly in Northern communities. While it cannot be said that this flag was directly associated with Freeman himself, the documented connection between the post and one of its members adds a meaningful layer of human context and historical depth.
The 38 stars on this flag represent Colorado’s admission to the Union on August 1st, 1876. Known as the “Centennial State,” Colorado achieved statehood just 28 days after the nation’s 100th anniversary. Although the 38-star flag did not become official until July 4th, 1877, it remained in use through July 3rd, 1890, spanning a period of westward expansion, industrial growth, and national consolidation following the Civil War. By the date of this flag’s overprint—1884—the star count was fully official and widely produced, placing this example firmly within its proper historical context rather than among earlier anticipatory issues made for the Centennial.
The printing method and material further support an 1880s date. The use of glazed cotton, along with printed application of color, is consistent with parade flags of the period. The slightly irregular saturation of the pigments, especially in the stripes, contributes to the warm, almost burnished appearance that clients find particularly appealing. The overprint reflects the practical realities of such commemorative objects—standard flags customized for local events through secondary application.
Flags with specific Memorial Day overprints tied to named G.A.R. posts are rare, particularly those bearing a clear and early date. The combination of a desirable 38-star count, strong visual presentation, documented year of use, and direct association with a Grand Army post in Burlington makes this an especially compelling example. It stands not only as a patriotic object, but as a tangible artifact of post-war remembrance, community and identity.
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 a handsome antique frame of birdseye maple, displaying dense, highly figured grain with warm, honeyed tones typical of 19th-century examples, likely dating to the mid- to late-1800s. A narrow gilded liner provides a refined inner border. The surface exhibits a naturally aged patina consistent with its period, enhancing its depth and character.
Condition Report: The flag shows moderate overall wear consistent with age and use, including scattered foxing, minor staining, and areas of pigment loss, particularly within the overprint and along the stripes. There is a vertical fold line through the center with associated light fabric breakdown, accompanied by minor fraying and edge wear along the perimeter. Despite these condition issues, the fabric remains stable, with strong visual presentation and legibility of both the star field and the MEMORIAL DAY overprint.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1884
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Frame Size (H x L): 6” x 8”
Flag Size (H x L): 2.25” x 4.25”
Offered is a miniature portrait campaign flag of Grover Cleveland, printed on coarse cotton and dating to the 1884 presidential election. The textile features Cleveland’s likeness rendered in blue within a shield, set against a field of red stripes and a blue canton populated by 36 stars. Beneath the portrait appears a bold, block-letter overprint reading “CLEVELAND,” executed in the same blue pigment. Small in scale yet visually assertive, the piece belongs to a scarce and highly collectible class of political textiles produced for campaign display and distribution.
The canton presents a medallion star configuration, a format rooted in mid-19th century design. A large central star—distinctively canted—anchors the composition, encircled by two rings of smaller stars, with additional stars completing the outer field. In total, the design incorporates 36 stars, corresponding to Nevada’s admission to the Union. While this count was official from July 4, 1865, to July 3, 1867, it was long obsolete by the time of Cleveland’s 1884 campaign, when the nation bore 38 states. The presence of a 36-star count here is therefore not literal, but instructive: it strongly suggests that the printing block employed for this flag originated earlier and was retained for later use. Rather than commissioning a new, updated design, printers appear to have repurposed an existing block, preserving both the earlier star count and the medallion format.
This retention of anachronistic imagery was not uncommon in inexpensive campaign ephemera. In this instance, it yields a visually compelling hybrid—late 19th-century political messaging expressed through a design vocabulary more typical of the Civil War era. The medallion configuration itself, with its celebratory and somewhat ornamental character, had largely fallen out of favor by circa 1890, replaced by rectilinear arrangements following the standardization of the flag in 1912. Its presence here adds both aesthetic distinction and historical depth.
Notably, the flag is presented in reverse orientation, with the canton appearing at the upper right rather than the upper left. This is not an error. During the 19th century, there was no official designation of a “front” or “back” to the American flag, nor a universally mandated canton position in printed parade flags and small textiles. As such, reverse-oriented examples like this are encountered and should be understood within the flexible conventions of the period.
The inclusion of a portrait within a shield is another point of distinction. While political textiles frequently incorporate candidate names or slogans, figural portraiture—especially integrated into a shield device—is less commonly encountered in flags of this scale. Cleveland’s likeness is crisply executed given the medium, with the shield serving both as a framing device and as a symbolic reference to national identity and civic virtue. The pairing of portrait and overprint reinforces the object’s intended function: immediate visual recognition in a crowded campaign environment.
From a production standpoint, the flag exhibits characteristics consistent with economical, large-quantity manufacture. The cotton is of a coarse, plain weave, and the pigments sit atop the fibers rather than penetrating them fully, indicative of block or stencil printing. Minor irregularities in saturation and registration are visible upon close inspection, lending the surface a slightly uneven but authentic quality. These features align with known examples of period campaign flags, which prioritized speed and cost-efficiency over refinement.
Historically, the flag relates to the fiercely contested 1884 presidential election between Grover Cleveland and James G. Blaine. Cleveland, the Democratic governor of New York, ran on a platform of reform and opposition to political corruption, while Blaine, the Republican nominee, carried the baggage of prior scandal. The campaign was marked by intense partisan rhetoric and remains one of the more colorful contests of the late 19th century. Objects such as this were produced to galvanize public support, serving as both promotional tools and personal tokens of political allegiance.
Examples of Cleveland campaign flags in this format are infrequently encountered, and those incorporating a medallion star field and portrait-on-shield design are particularly scarce. Campaign flags as a category occupy a special position within the field of American flag collecting, bridging political history and textile design. Their ephemeral nature—produced for short-term use and often discarded—has ensured that surviving examples are limited.
In sum, this is a compelling and visually distinctive example of late 19th-century political material culture: a Grover Cleveland campaign flag that combines an earlier star configuration, a dynamic medallion layout, and an uncommon portrait presentation within a single, compact textile.
Conservation Process: The 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: A handsome 19th-century American frame with a rich, dark, hand-finished surface exhibiting pronounced craquelure throughout, indicative of age and original finish. The textured, slightly irregular surface and warm tonality provide a strong visual counterpoint to the textile, enhancing its period presence without distraction.
Condition Report: The flag shows expected wear consistent with its age and utilitarian purpose, including fraying along the edges, minor losses at the margins, and light soiling throughout. There is modest fading to the pigments and some unevenness in the print, inherent to its method of manufacture. Overall, the textile remains stable, with its imagery clear and highly legible.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1884
Number of Stars: 36
Associated War: The Indian Wars (1860-1890)
Associated State: Nevada
Frame Size (H x L): 6.5” x 8.5”
Flag Size (H x L): 2.75” x 5”
Offered is a 37-star American flag trade card, printed on paper and featuring an advertising overprint for J. Jay Gould’s Picture Store of Boston. Patriotic trade cards were widely produced in the late 19th century, but examples that combine an early star count with unusual graphic treatment and integrated advertising are less often encountered.
The star pattern is one of the more distinctive features. Arranged in a medallion formation with no outlying corner stars, the design departs from more typical linear or grid-based configurations. The stars themselves are also unusual. Rather than rounded or conventionally pointed forms, they have sharp, irregular points that give them an almost bursting appearance. The result is a more animated and expressive design than is usually seen in small printed flags of the period.
The placement of the advertising text is equally noteworthy. The overprint appears within the red stripes, executed in white lettering. In most known examples of overprinted patriotic paper items, text is placed in the white stripes for clarity and contrast. Here, the choice to print within the red required more careful registration and produced a more integrated effect, with the advertising functioning as part of the overall flag design rather than as a separate layer added afterward. This is an uncommon feature and one of the card’s most interesting visual characteristics.
The contents of the overprint offer insight into both the business itself and the consumer culture of the period. The text advertises “beautifully colored scrap-book pictures,” with catalogues offered free, and promotes a broad assortment of decorative and novelty goods. Among the subjects mentioned are bouquets, children in fancy costumes, comic scenes, animals, butterflies, and motto subjects for scrapbooks and letter paper. References to stereoscopic views and colored engravings reflect the strong demand for affordable visual material in the years after the Civil War, while the mention of frames made to order and “fancy colored mats” suggests that the shop also served customers interested in the display of images in the home. Other items, including albums, photographs, passe-partouts, picture cords, and ornamental paper goods, further indicate a business centered on the sale of inexpensive, attractive, mass-produced imagery and related decorative materials. Taken together, the overprint reads almost like a condensed catalogue of popular visual culture in the period.
The advertisement identifies J. Jay Gould’s Picture Store at 20 Bromfield Street and 120 Dudley Street in Boston. The presence of two addresses suggests an established retail operation serving different parts of the city, and the specificity of the imprint is useful both historically and for dating purposes. Trade cards such as this were intended to advertise, but they were also meant to be kept. Their small format, colorful presentation, and novelty value made them ideal for retention in albums and scrapbooks, which helps explain why surviving examples remain of interest today.
From a collecting standpoint, the piece sits at the intersection of early American flags and 19th-century advertising ephemera. The unusual star shapes, medallion configuration, and red-stripe overprint distinguish it from more standard examples, while its small format reflects its original purpose as a portable promotional item.
The 37-star count corresponds to Nebraska’s admission as the 37th state on March 1, 1867. The official 37-star flag remained in use from July 4, 1867 through July 3, 1877, placing this card within the Reconstruction era and into the years leading up to the 1876 Centennial, when patriotic imagery was widely employed in both civic and commercial settings. The star count therefore provides a clear historical framework for the piece.
Overall, this is a strong example of late 19th-century patriotic advertising, made more interesting by several features not commonly encountered in combination. The unusual medallion star pattern, the sharply stylized stars, the placement of the overprint in the red stripes, and the specific connection to a Boston picture store all contribute to its appeal. It is a compact but layered object that brings together graphic interest, historical context, and crossover value for collectors of both flags and advertising ephemera.
Frame: The card is housed in an antique frame with a lemon gold finish, characterized by a soft, pale gilt tone with a gentle luster. The finish is consistent with mid- to late-19th century gilt frames, circa 1850–1880, and presents a refined, understated appearance typical of the period.
Condition Report: The trade card has been professionally conserved by a paper conservator. There is expected light toning and minor wear consistent with age and handling, but the surface remains stable and well-preserved. Any prior issues have been addressed through conservation, allowing the piece to present cleanly while retaining appropriate signs of age.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1867-1876
Number of Stars: 37
Associated War: The Indian Wars (1860-1890)
Associated State: Nebraska
Frame Size (H x L): 38” x 48”
Flag Size (H x L): 21” x 35”
Offered is a 13-star antique American flag in the 3-2-3-2-3 configuration, constructed of wool bunting with double-appliquéd cotton stars and dating to approximately 1895–1926.
The star arrangement consists of three stars in the first row, two in the second, three in the third, two in the fourth, and three in the fifth. Visually, this produces a diamond-shaped core framed by four corner stars. The configuration is commonly associated with Francis Hopkinson and is often referred to as the “Hopkinson pattern.” While no surviving example can be definitively linked to the first national flag, many historians attribute the original design of the American flag to Hopkinson, a member of the Continental Congress and a signer of the Declaration of Independence.
Hopkinson submitted a formal petition to the Continental Congress requesting compensation for having furnished the design of “the flag of the United States of America.” He initially asked to be paid with a quarter cask of public wine and later requested monetary compensation. Although Congress acknowledged his role, payment was refused on the grounds that others had been consulted in the process. Regardless of the outcome, his documented claim provides firmer historical footing than the later Betsy Ross narrative, which emerged decades after the Revolution and lacks contemporary documentation.
The 13-star count represents the original thirteen colonies and was formally adopted on June 14, 1777, when Congress resolved:
“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.”
From 1777 until May 1, 1795, the 13-star flag served as the official national flag of the United States. With the admission of Vermont and Kentucky, the star count increased to 15. After that date, however, the 13-star flag did not disappear. Instead, it evolved into a powerful and enduring symbol of the nation’s founding.
By the early nineteenth century, the 13-star count had come to represent the Revolutionary generation and the origins of American independence. Such flags were displayed during the return tour of General Lafayette in 1824–1825, when public ceremonies across the country emphasized continuity with the founding era. They appeared again during periods of heightened nationalism, including the Mexican War (1846–1848) and especially during the Civil War (1861–1865), when affirmations of unity and constitutional permanence carried particular resonance.
The Centennial International Exhibition of 1876 in Philadelphia further strengthened the association between the 13-star flag and Revolutionary commemoration. The centennial year prompted renewed interest in early American imagery, and 13-star flags were produced in meaningful numbers for decorative and ceremonial use. This revival of Revolutionary symbolism extended into the late nineteenth and early twentieth centuries, particularly in connection with patriotic anniversaries, veterans’ organizations, civic observances, and the approach to the 150th anniversary of American independence in 1926.
The present example belongs to that late nineteenth- to early twentieth-century revival period. Its construction characteristics are consistent with commercial flag production between approximately 1895 and 1926. The canton and stripes are made of wool bunting, the preferred material for outdoor flags due to its durability and ability to shed wind. The lengths of bunting are machine-stitched together, reflecting industrial manufacturing methods rather than hand-sewn construction.
The stars are fashioned of cotton and are double-appliquéd—applied to both sides of the canton so that the flag presents correctly from either orientation. They are secured with a zig-zag machine stitch, a method patented in 1892 and widely adopted thereafter. This stitching technique provides a reliable chronological indicator and places the flag securely in the post-1892 period.
The hoist is made of cotton twill and fitted with rolled-rim brass grommets. The grommets exhibit the warm golden tone and mellow oxidation typical of aged brass rather than plated steel. Brass was commonly used in quality commercial flag production during this period due to its resistance to corrosion, particularly for outdoor and maritime use. The rolled-rim style seen here is consistent with late nineteenth- and early twentieth-century manufacture and supports the circa 1895–1926 dating.
This example also exhibits somewhat squarer proportions than what later became standard. The proportions of the United States flag were not formally regulated until the 1912 executive order issued under President William Howard Taft, which specified the arrangement and relative dimensions of the stars and stripes for official government use. Prior to that standardization, flag makers exercised broad discretion in overall proportions, canton dimensions, and star spacing. As a result, pre-1912 flags frequently display meaningful variation in aspect ratio. The squarer presentation seen here reflects that earlier flexibility and is entirely consistent with a circa 1895–1926 date range.
The 3-2-3-2-3 configuration remained popular well into the twentieth century because it offers both visual balance and strong geometric clarity. The central diamond anchors the design, while the four corner stars stabilize the canton composition. Among the various 13-star arrangements employed during the revival period—including wreath patterns, medallions, staggered rows, and circular configurations—the 3-2-3-2-3 pattern maintained a particularly direct association with early national imagery.
Importantly, 13-star flags produced during this era were not intended to reflect the contemporary number of states in the Union. Rather, they functioned symbolically. They invoked the founding generation and the nation’s original compact, serving as emblems of continuity rather than literal enumerations of statehood. They were frequently displayed at civic buildings, maritime installations, patriotic celebrations, and commemorative events where reference to Revolutionary heritage was deliberate and understood.
Within that historical and manufacturing context, this flag represents a well-constructed commercial example from the height of the early American revival movement. Its materials, stitching techniques, hardware, and proportions align with established production practices of the late nineteenth and early twentieth centuries. It stands as a deliberate and historically grounded evocation of the nation’s beginnings, executed with the industrial craftsmanship characteristic of its era.
Conservation Process: This flag was hand sewn to silk organza, and both were hand sewn to cotton fabric. The silk organza provides a strong layer of protection and a professional appearance. The flag, the silk organza, and the cotton fabric were then 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 features a swan profile with a gently scooped face and a stepped outer molding that creates defined depth and shadow. It is finished in a dark walnut wood veneer with visible grain variation and warm brown tonal shifts. The overall presentation is architectural and substantial without appearing overly ornate.
Condition Report: The flag exhibits scattered small holes and minor tears in the striped field, consistent with age and use. There is modest handling evidence along the hoist. Overall, the wool bunting retains good structural integrity, and the colors remain strong.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1895-1926
Number of Stars: 13
Associated War: Spanish-American War (1898) and World War I (1914-1918)
Associated State: Original 13 Colonies
Frame Size (H x L): 28.5” x 33.5”
Broadside Size (H x L): 19.25” x 24”
Offered is a World War I agricultural recruitment broadside produced for use in Illinois under the auspices of the U.S. Boys’ Working Reserve. Printed in red and blue inks on cream machine-made paper, the poster urges farmers to “Take a Boy Now to Help You Farm,” presenting agricultural labor as a direct contribution to the national war effort.
Issued during America’s involvement in the First World War (1917–1918), the broadside responds to labor shortages caused by military enlistment and wartime industrial expansion. The text states that “20,000 Illinois boys (between 16 and 21) have volunteered in the U.S. Boys’ Working Reserve to help Illinois farmers produce the food to win the war,” explicitly linking agricultural production with national victory. While military enlistment posters are more commonly encountered, this material reflects the parallel mobilization taking place on the American home front.
HISTORICAL CONTEXT
The U.S. Boys’ Working Reserve was organized in 1917 under the United States Department of Labor to mobilize teenage boys for essential wartime labor. As adult farm workers entered military service or relocated to industrial employment, agricultural output faced measurable strain. State programs recruited, screened, trained, and placed high school-aged boys in agricultural positions.
Illinois played a meaningful role in this effort. The broadside describes participants as “carefully picked young men — able-bodied and eager for hard work — intelligent, of good character — trained to learn and to obey.” It further notes that many received “SPECIAL EDUCATION FOR FARM WORK,” including instruction in handling horses and farm machinery. The language reflects Progressive Era emphasis on discipline, character, and organized civic participation.
The text asserts that Federal and State governments “GUARANTEE THESE YOUNG MEN,” an assurance intended to address farmers’ concerns regarding reliability and preparedness. The statement that each boy would be “worth his keep from the first day” frames the program in practical economic terms alongside its patriotic purpose.
The broadside bears the printed names of Samuel Insull, Chairman of the Illinois State Council of Defense, and Burridge D. Butler, Federal State Director of the U.S. Boys’ Working Reserve for Illinois. The printer’s imprint at the lower margin reads “Ryan & Hart Co., Printers, Chicago,” placing the production firmly within Illinois’ wartime administrative structure.
DESIGN, PRINTING, AND PHYSICAL CHARACTERISTICS
The headline “TAKE A BOY NOW” appears in large red block letters across the upper field, with supporting text printed in blue to establish clear visual hierarchy. At left center, a shield device encloses a portrait of a neatly dressed young man in suit and tie rather than work clothing. The imagery presents the recruit as disciplined, educated, and dependable. The shield motif reinforces themes of duty and service, aligning agricultural labor with national defense.
The layout is structured and direct, framed by double red and blue rule borders that organize the text into defined blocks. The concluding directive, “ASK THE MAN IN CHARGE HERE,” indicates intended display in a public or administrative setting where local coordination of placements occurred.
The broadside was printed by letterpress on paper, with red and blue inks applied in separate passes. Registration is clean and typographic impressions remain sharp. It is a single-sheet printed broadside featuring a bold typographic header, a shield-form portrait vignette, and structured text contained within rule borders. The lower margin carries the printer’s imprint of Ryan & Hart Co., Chicago. Visible fold lines are consistent with original folded distribution for mailing or shipment to county offices and agricultural agencies.
This U.S. Boys’ Working Reserve broadside documents the organized mobilization of agricultural labor on the American home front during World War I, combining state-level administration, disciplined wartime messaging, and strong graphic structure in a format intended for public display.
Frame: The broadside is housed in a wide, sloped molding with an aged gold surface, intentionally distressed to evoke the appearance of early gilded frames.
Condition: The broadside has been professionally conserved by a paper conservator and presents well overall. Visible horizontal and vertical fold lines remain from original distribution, with minor residual creasing and slight separation previously present at fold intersections. There is light, even toning consistent with age, along with scattered minor edge wear and small imperfections that remain visible upon close inspection. The printed surface remains strong, with red and blue inks retaining good saturation and clarity.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1917-1918
Frame Size (H x L): 12” x 15”
Flag Size (H x L): 6” x 9”
Offered is a 33-star American national flag, printed on glazed cotton and executed in a highly distinctive medallion-style star configuration. At the center of the canton is a single, oversized “center star,” canted to approximately the 11:00 position. This center star is widely understood to represent the most recently admitted state—Oregon in the case of the 33-star flag. Surrounding the center star are two concentric rings of smaller stars, with four additional stars positioned in the corners of the canton, completing the design.
The stars are notably pointy and irregular in form, lending the flag a distinctly folksy, hand-rendered appearance. They are tightly packed within the canton, a visual characteristic emblematic of a small and well-recognized family of mid-19th-century printed flags. Although the maker of this example remains unidentified, the star shapes, spacing, and overall layout are consistent across a limited group of flags known to have originated from the same workshop.
This workshop is documented to have produced flags in 6 different star counts, all sharing the same stylistic vocabulary: 7-star, 13-star, 15-star, 29-star, 33-star, and 35-star examples. Each star count corresponds to a specific historical or commemorative purpose. Flags with 7 stars acknowledged the first seven states to secede from the Union; 13-star flags referenced the original colonies; 15-star flags commemorated Kentucky’s centennial; and the 29-star, 33-star, and 35-star flags celebrated the admission of Iowa, Oregon, and West Virginia, respectively. The recurrence of this design across multiple star counts suggests a commercially oriented maker responding quickly to current events and prevailing public sentiment.
The 33-star flag represents the admission of Oregon, which became the 33rd state on February 14, 1859. In accordance with federal law, the star count was updated on the following Independence Day, making July 4, 1859, the official beginning of the 33-star flag’s period of use. It remained the official national flag until July 4, 1861, when the 34-star flag—reflecting the admission of Kansas—was formally adopted.
The historical timing of the 33-star flag is particularly significant. Its official period of use overlaps directly with the secession crisis and the opening months of the Civil War. At the time the 33-star flag became official, multiple Southern states had already left the Union, yet no stars were ever removed from the flag. As a result, the 33-star flag represents a Union that was legally intact but politically fractured—an important and meaningful distinction for collectors.
This association is underscored by a notable historical reference: a 33-star flag was flying at Fort Sumter when Confederate forces launched their attack in April of 1861. Because of this, the 33-star flag is among the earliest star counts directly tied to the Civil War and is often regarded as a visual symbol of the nation on the brink of armed conflict.
Although the 33-star flag was officially replaced in July of 1861, it continued to be used well into the Civil War. Wartime supply constraints meant that existing flags remained in service, and manufacturers did not immediately discard earlier printing blocks or designs. As a result, 33-star flags are documented in both pre-war and early-war contexts, adding to their historical depth and complexity.
From a broader collecting perspective, flags from the Civil War era are among the most sought-after of all antique American flags. Prior to the late 1850s, flags were not commonly displayed by civilians for patriotic purposes, and even military use was relatively limited. Earlier flags were typically produced for maritime identification and were often very large in scale. The mass production of smaller, affordable flags—intended for rallies, political events, and personal display—emerged with the election of Abraham Lincoln and accelerated rapidly with the onset of the Civil War. The 33-star flag sits squarely at the beginning of this transformation.
Taken as a whole, the 33-star flag occupies a uniquely compelling position in the history of American national flags. It represents the Union at a moment of profound tension—legally whole, yet politically fractured—while also marking the transition from large, utilitarian flags to smaller examples made expressly for public display and personal expression. Combined with its association with the opening chapter of the Civil War, its relatively brief official lifespan, and the bold medallion-style configuration seen here, the 33-star flag stands among the most historically resonant and visually distinctive star counts available to collectors today.
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 a solid birdseye maple frame, chosen for its warm tone and distinctive figured grain. Its restrained profile provides a clean, complementary presentation without distracting from the flag itself.
Condition Report: The flag presents with expected wear consistent with age and use, including overall fabric softening, light surface soiling, and moderate fraying along the edges. There is a small area of fabric loss and a short vertical tear within the striped field, accompanied by scattered minor holes and thread loss elsewhere. Despite these condition issues, the flag remains stable, visually compelling, and well suited for display.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1859-1861
Number of Stars: 33
Associated War: Pre-Civil War
Associated State: Oregon
Frame Size (H x L): 30” x 22.5”
Broadside Size (H x L): 21” x 13”
Offered is a rare nineteenth-century American livestock advertising broadside, promoting the breeding services of the purebred imported Clydesdale stallion Young Louden Tam. Printed on glazed cotton and issued for the 1875 breeding season, the broadside was produced for use in northern Illinois, with service locations listed near Orangeville and at S. J. Davis’s stable in Davis, Illinois. It reflects a period when draft-horse breeding was central to agricultural productivity and regional commerce in the Midwest.
Broadsides of this type were created for temporary public display in livery stables, feed stores, fairgrounds, and other agricultural centers. They announced a stallion’s availability, outlined pedigree and terms, and circulated locally during a single breeding season before being replaced. As a result, examples that remain today—particularly those produced on textile substrates rather than paper—are uncommon.
Young Louden Tam is described as a jet-black Clydesdale stallion, standing 16 hands high and rising seven years of age in 1875, an age regarded as ideal for breeding. He is identified as the son of Louden Tam of Scotland, with extended pedigree text noting show prizes and premiums earned abroad. In the decades following the Civil War, Illinois farmers actively sought imported British draft stock to improve strength, size, and consistency in working horses. Clydesdales were especially valued for their combination of power and sound movement, qualities well suited to the demands of Midwestern farming and freight work.
The terms of service reflect the structured and increasingly professional nature of horse breeding at the time. Fees ranged from $8 for a single leap to $15 to insure a foal, amounts that represented a serious investment for farmers. The listed schedule and multiple service locations illustrate how stallions were moved between communities to reach a wider clientele. In Illinois, where mixed grain farming, hauling, and land improvement all depended on animal power, access to a proven imported stallion carried both economic and practical importance.
This broadside is printed on glazed cotton, a durable textile sometimes used for agricultural advertising intended for repeated handling and display. The surface treatment provided greater resilience than paper and helps explain the survival of examples such as this. The central image is a wood engraving of the stallion, paired with bold, utilitarian typography designed for clear visibility in public settings. The overall layout prioritizes clarity and information, combining image, pedigree, schedule, and terms in a direct commercial format.
Taken as a whole, this broadside offers a clear window into nineteenth-century horse breeding in Illinois, where imported bloodlines, regional circulation of stallions, and printed advertising worked together to support an agricultural economy still fundamentally dependent on draft power. It stands as a well-preserved document of that system, valued both for its historical content and for its survival on an uncommon textile medium.
Conservation Process: The broadside was hand sewn to a cotton fabric backing, which was then hand sewn to a mounting board. To prevent dye migration from the black cotton, the fabric was pre-washed and treated with a dye-setting wash prior to mounting. The broadside is displayed behind Optium Museum Acrylic.
Frame: The frame features a wide, flat-profile wood molding finished in dark walnut. Its clean lines and subdued grain provide a strong, understated presentation. The profile offers visual weight without distraction.
Condition: The surface shows light, uneven discoloration, most noticeable in the lighter areas of the field, consistent with age and historical use. These tonal variations do not obscure the printed text or imagery and are typical of glazed cotton advertising from the period. Overall presentation remains clear and well preserved for a nineteenth-century working textile.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1875
Frame Size (H x L): 9.5” x 13”
Flag Size (H x L): 4.5” x 7.5”
Offered is a 48-star American parade flag, printed on glazed cotton, notable for its early, non-regulated star arrangement and for the presence of handwritten inscriptions that record a specific Independence Day celebration. In addition to its patriotic function, this flag preserves contemporaneous written details relating to a local baseball game and Fourth of July festivities.
The handwritten inscriptions appear on both sides of the 48-star flag and are central to its significance. One side records the setting, participants, and date of the celebration, while the other reiterates the date and game details. Because portions of the writing are faint and partially obscured, the inscriptions are transcribed here verbatim so that the historical information is fully accessible.
The inscription on the side shown reads as follows:
Fireworks at
Harlows
G.B.S. & S.A.W.
H.A.H. & A.B.W. Went
July 4, 1903. Ball game
6 to 4 in favor of Kingfield.
The inscription on the other side reads as follows:
July 4, 1903.
H.A.H.
Ball game between Lexington &
Kingfield, 6 to 4 in favor of Kingfield.
Together, these inscriptions anchor the 48-star flag to a Fourth of July celebration in 1903 in western Maine. The named towns—Kingfield and Lexington—were neighboring rural communities, and holiday baseball games between such towns were a common feature of Independence Day observances at the turn of the twentieth century. These games were typically informal and locally organized, often accompanied by picnics and fireworks and held on private farms or open land rather than at formal municipal venues. The reference to “Harlows” is consistent with this practice and appears to denote a locally known family property used as the gathering site.
The recorded score—six to four in favor of Kingfield—suggests local pride and firsthand participation. A series of initials appears on both sides of the flag (G.B.S., S.A.W., H.A.H., and A.B.W.). While their specific identities remain unknown, such initials are typical of informal, personal inscriptions of the period and likely reference individuals present at, or involved in, the day’s events.
The 48-star count is anticipatory. This flag dates to 1903, nearly a decade before the 48-star flag became official on July 4, 1912, following the admission of New Mexico and Arizona earlier that year. In the late nineteenth and early twentieth centuries, American flag makers regularly anticipated future state admissions and produced flags reflecting projected star counts well in advance of official adoption. As a result, 48-star flags are known from the 1890s onward, long before the configuration was formally recognized.
Prior to June 24, 1912—when President Taft issued Executive Order 1556—there were no federal specifications governing star arrangement or flag proportions. Flag makers were free to arrange the stars within the canton as they saw fit, and proportions varied widely. Many early 48-star flags therefore display staggered or offset star patterns and elongated formats, characteristics present in this example and consistent with its early date of manufacture. Exact shades of red, white, and blue were likewise unregulated until 1934.
The 48-star flag holds a uniquely long and consequential place in American history. It became official on July 4, 1912, and remained the national flag for forty-seven years, until July 4, 1959, when Alaska prompted the adoption of the 49-star flag. During this extended period of use, the United States experienced many of the defining events of the twentieth century, including World War I, World War II, and the Korean War, all fought under the 48-star flag. Eight U.S. presidents served while it was the official national emblem, and for many Americans it became the flag most closely associated with the country’s emergence as a global power.
Seen in this light, the presence of a 48-star flag at a small-town Fourth of July celebration in 1903 feels notably forward-looking. Long before the star count became official—and decades before it would fly during some of the nation’s most consequential moments—this flag was already in use as part of everyday civic life, carried and written upon by ordinary Americans marking a summer holiday with baseball and fireworks.
Importantly, this is the exact 48-star flag illustrated and discussed in The Stars and Stripes: Fabric of the American Spirit by J. Richard Pierce. Pierce is widely regarded as one of the foremost private collectors and scholars of American parade flags, and his collection—formed over decades—has served as the basis for exhibitions and scholarship at major institutions. Inclusion in his work places this flag within a rigorously studied and well-documented corpus of American textiles.
The flag is also referenced in a published article in Antiques & The Arts and was publicly exhibited as part of The Stars and Stripes: Fabric of the American Spirit, including exhibitions at Hancock Shaker Village and Morven Museum & Garden. These references establish the flag as a documented and exhibited example.
Taken together, the anticipatory 48-star count, early production characteristics, precise date, named towns, recorded score, handwritten inscriptions, and published exhibition history place this flag within the broader context of American flag-making, early baseball culture, and Independence Day traditions at the turn of the twentieth 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 flag is housed in an early frame with a dry black surface, dating to approximately the 1840s. The frame is constructed from four straight lengths of molding joined at the corners rather than mitred, a method associated with utilitarian framing practices of the period.
Condition Report: The flag presents with honest wear consistent with age and use. There is a small hole near the fly end, located beneath the handwritten reference to Harlows, as well as a small vertical tear between the letters “g” and “f” in “Kingfield.” Additional minor fading and surface wear are present throughout, but the flag remains stable, legible, and visually appealing, with the inscriptions and star field clearly intact.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1903
Number of Stars: 48
Associated War: WWI, WWII, and Korean War
Associated State: Arizona
Frame Size (H x L): 14.5” x 18.5”
Flag Size (H x L): 8.75” x 10.5”
Offered is a 44-star American silk parade flag produced for the presidential election of 1892 and overprinted with a portrait of Republican candidate Benjamin Harrison, along with a facsimile of his signature and the campaign year, “1892.”
Printed on silk and intended for parade or public display, this flag represents a documented form of late-19th-century political ephemera that integrates national symbolism, portrait imagery, and campaign identification within a single textile. The canton contains forty-four white stars arranged in regular rows on a blue field, corresponding to the official star count following Wyoming’s admission to the Union in 1890. Harrison’s portrait is printed directly across the striped field, visually linking the candidate to the national flag in a manner consistent with campaign display practices of the period.
The portrait used on this flag is derived from a painted likeness by Eastman Johnson, executed circa 1889 and associated with the National Portrait Gallery. Johnson was a prominent American artist of the 19th century, and the use of his painted portrait as the basis for campaign imagery reflects a common practice of adapting established presidential likenesses for political ephemera. The source of the portrait confirms that the image was not a generic engraving but one grounded in an officially recognized representation of the candidate.
This Harrison portrait flag is documented in authoritative reference works on American political textiles and is represented in major institutional collections. An example of this flag is held by the Smithsonian Institution, within its Division of Political History. Additional examples are documented in the Pierce Collection, one of the most significant private collections of American parade flags and political cloth. The appearance of this flag in both institutional and private reference contexts establishes it as a recognized campaign type rather than an isolated or undocumented variant.
The underlying 44-star silk flag used for this Harrison example was manufactured as a standardized base and later adapted through overprinting. The same base flag was also used for the 1892 Democratic campaign of Grover Cleveland, substituting Cleveland’s portrait and signature while retaining the identical star field and stripe layout. Outside of politics, this flag format appears with other period overprints, including a commemorative example marking the one-hundredth performance of actor John Drew, as well as a salesman’s sample intended to demonstrate advertising possibilities on parade flags. These related examples illustrate the commercial practices of late-19th-century flag makers, who produced high-quality patriotic textiles that could be customized for different clients and purposes.
A notable feature of the Harrison and Cleveland campaign flags is the method of overprinting. Unlike most political parade flags of the era, which were typically overprinted in black ink after the base flag was produced, the portrait and text on this flag were printed in blue ink matching that of the canton. This approach results in a unified visual treatment and distinguishes this group of flags from more common black-overprinted campaign examples.
The election of 1892 provides relevant historical context for this flag. It marked a rematch between incumbent president Benjamin Harrison and former president Grover Cleveland, following Cleveland’s defeat in 1888. The campaign centered on economic policy and tariffs, and Cleveland’s victory made him the only president in U.S. history to serve two non-consecutive terms. Campaign materials from this election reflect a period in which political messaging increasingly relied on mass-produced visual objects intended for public display.
Silk parade flags from the 19th century survive in limited numbers due to the inherent fragility of the material and their intended use. This example remains a clear and legible representation of a documented 1892 campaign design, supported by reference literature and institutional comparators. Its silk construction, identifiable portrait source, and established place within a known family of related flags make it a representative example of American political textiles from the late 19th century.
Conservation Process: The 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 early frame with a dry black surface, dating to approximately the 1840s. The frame is constructed from four straight lengths of molding joined at the corners rather than mitred, a method associated with utilitarian framing practices of the period.
Condition Report: The silk shows expected age-related wear, including a few small holes. There is a horizontal tear that begins just to the left of Harrison’s portrait at approximately nose level and extends toward the ear. Despite these condition issues, the textile remains stable, attractive, and visually cohesive.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1892
Number of Stars: 44
Associated State: Wyoming
Frame Size (H x L): 35” x 47”
Flag Size (H x L): 24” x 36”
Offered is a 13-star American flag of wool bunting with cotton stars that are double-appliquéd—sewn to both sides of the canton so the design presents correctly on either face. This method of construction reflects quality commercial manufacture of the late 19th and early 20th centuries, when durability, clarity, and efficiency were central to flag production.
The stars are secured with a zig-zag machine stitch, a distinctive back-and-forth technique that provides meaningful chronological guidance. In August of 1889, Henry Bowman filed a patent application for a “method of making flags,” granted in February of 1892 as U.S. Patent No. 469,395. The patent specifically claimed the zig-zag stitch as applied to flag construction. As such, the 1889 filing date provides a reliable “not-earlier-than” reference point when this stitching is present. In practice, zig-zag stitching is most commonly encountered on flags produced from approximately 1895 through the early decades of the 20th century, whereas examples from the early 1890s more often display a linear treadle stitch.
The canton displays a classic medallion configuration centered on a single star, surrounded by a wreath of eight stars forming an inner ring, with four additional stars placed in the corners to complete the thirteen. All stars are uniform in size, lending the arrangement a disciplined, balanced character. The corner stars visually anchor the composition, while the circular wreath establishes a strong radial rhythm around the center. The generous blue field between elements enhances legibility, allowing the medallion pattern to read with clarity even at a distance.
The hoist retains its original stencil reading “STANDARD 2 X 3.” “STANDARD” denotes standard-grade wool bunting, while “2 X 3” identifies the intended dimensions in feet. Flags of this scale were versatile and practical, well suited for small-boat use, civic display, fraternal organizations, and private patriotic presentation. The survival of the stencil reinforces the flag’s authenticity and firmly situates it within established late-19th- and early-20th-century commercial manufacturing practice.
The 13-star flag traces its origin to 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 in a blue field, representing a new constellation.”
Although the official star count increased in 1795, the 13-star configuration remained in continued and intentional use. Rather than disappearing, it evolved into a conscious emblem of the nation’s founding era. Throughout the 19th century, 13-star flags appeared at commemorations, anniversaries, and moments of heightened national identity. They were displayed during Lafayette’s celebrated return tour of 1824–1825, during the Mexican-American War, and prominently during the Civil War, when public exhibition of the national flag became widespread. The United States Navy continued to employ 13-star ensigns on small boats until 1916, reinforcing the design’s enduring official presence. Following the 1876 Centennial, Americans experienced renewed interest in Revolutionary symbolism, and manufacturers responded by producing 13-star flags as historical tributes.
Dating to approximately 1895–1920s based on its materials and stitching characteristics, this flag reflects the late-19th-century revival of the 13-star design. Its wool bunting construction, double-appliquéd cotton stars, Bowman-era zig-zag stitching, original brass grommets, and intact hoist stencil together define a strong and authentic medallion example from the period.
Conservation Process: This flag was hand sewn to silk organza, and both were hand sewn to cotton fabric. The silk organza provides a strong layer of protection and a professional appearance. The flag, the silk organza, and the cotton fabric were then 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 deep-profile moulding with a simple, classical profile, finished in a dark cocoa-brown tone. Its broad face provides visual support without ornament, allowing the flag to remain the primary focus. The subdued finish is well suited to the display of nineteenth-century textiles.
Condition Report: The flag is in excellent overall condition. There are a handful of tiny holes consistent with light, honest period wear. Several of the cotton stars show very slight red dye bleed from adjacent stripes, a common occurrence in wool bunting examples of this era. The colors remain strong, and the fabric retains its structural integrity.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1895-1926
Number of Stars: 13
Associated War: Spanish-American War (1898)
Associated State: Original 13 Colonies
Frame Size (H x L): 20” x 16”
Flag Size (H x L): 4.5” x 6” and Affixed to a 10” Staff
Offered is a forty-five star parade flag with a fantastic overprint of the following:
SMOKER
GIVEN TO THE MEN OF THE
NORTH ATLANTIC SQUADRON
By the Citizens of Pensacola, Florida
APRIL 14, 1903
As shown in the attached photograph and newspaper article, the North Atlantic Squadron (later renamed the North Atlantic Fleet) docked in Pensacola, and a social event (i.e., a smoker) was held between the men of the Squadron and the citizens of Pensacola. Among those in attendance was Francis J. Higginson, who was an officer in the US Navy during the Civil War and the Spanish-American War. He was the last commander in chief of the North Atlantic Fleet.
Overprints on flags come in a variety of forms, and are most frequently encountered in flags dating to between 1860 and 1910. This overprinted flag is among the best that we have ever encountered, both for its form and rarity. In terms of form, it is a great because of its varying fonts and sizes, its centering over the entire width of the flag, and its subject matter. In terms of rarity, this is only version of this flag that we have ever encountered, and it is reasonable to assume that very few (if any) others have survived.
The stars appear to be arranged in an 8-7-8-7-8-7 pattern. The canton of the flag is a beautiful cornflower blue, and its stripes are a deep red. The First Flag Act of 1777 specified the number of stripes and the colors of the flag, but did not specify the exact shades of each color, which is why some flags—like this one—have unusual colors. The exact shades were not officially specified until 1934.
The forty-five star flag represents the inclusion of Utah to the Union. Utah was admitted on January 4th, 1896, and this flag became official on July 4th, 1896. Presidents Grover Cleveland, William McKinley, and Teddy Roosevelt served under this flag, and the Spanish-American War was fought under it.
In 1848 Utah became a territory of the United States, and in 1849 its constitution was established as the Mormon State of Deseret. The next year, the State of Deseret applied to become a state, but Congress rejected the application and changed its name to the Utah Territory, which included the entirety of Nevada and portions of Colorado and Wyoming (as a section of the Missouri Compromise). Despite its continued efforts to gain statehood, it remained a territory, partially as a result of the Mormon Church and Utah authorities being openly tolerant of polygamy. In 1890 Utah outlawed the practice, and in 1896 Utah finally became the forty-fifth state. The forty-five star flag was official for 12 years up until July 4th, 1908, when the forty-six star flag became official and began to represent the inclusion of Oklahoma 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: The frame dates to between 1860 and 1890, and includes a gold liner and extensive decorating.
Condition Report: This flag has some minor staining and some fading. There is some minor fraying along the bottom of the flag. Many collectors prefer flags that show their use and age.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1903
Number of Stars: 45
Associated War: Spanish-American War (1898)
Associated State: Utah
Frame Size (H x L): 28” x 28”
Kerchief Size (H x L): 18” x 18”
Offered is a rare Progressive Party campaign kerchief, produced in support of Theodore Roosevelt during the landmark 1912 presidential election. Printed in red on cotton, this textile belongs to a small but historically significant group of political bandannas that combined portraiture, text, and music to promote Roosevelt’s third-party candidacy during one of the most consequential elections in American history.
At left appears an oval portrait of Roosevelt, accompanied by the slogan “Our Teddy.” To the right is a printed sheet-music panel titled We Want Teddy, a campaign song closely associated with the Progressive movement. The lyrics reinforce Roosevelt’s reformist platform and make explicit reference to the Bull Moose Party, reflecting the populist enthusiasm and public engagement that characterized the campaign. The incorporation of musical notation directly into the design distinguishes this kerchief from more conventional graphic examples and illustrates the multi-layered approach to political messaging employed during the period.
The presence of the campaign song is significant. Music played a central role in early-20th-century American political culture, with songs written to be sung collectively at rallies, parades, and public gatherings. Here, the printed lyrics transform the kerchief from a purely visual object into an interactive one—meant to be read, sung, waved, or displayed. The straightforward language of the song mirrors the Progressive movement’s emphasis on mass participation and reform, while its integration with portrait and slogan demonstrates how image, text, and sound were deliberately combined to reinforce political identity. Political textiles incorporating music are comparatively uncommon, adding an additional layer of interest to this example.
The music panel also provides important documentary detail. The song We Want Teddy is credited to Homer A. Rodeheaver and carries a 1912 copyright. Publication is attributed to The Rodeheaver Company, located at 14 West Washington Street, Chicago, Illinois. Rodeheaver was a prominent figure in early-20th-century American music publishing, best known for his work in popular and religious song, and his involvement reflects the professional, commercial scale of music produced for the 1912 campaign. At the time, Chicago was a major national center for music publishing and printing, making it a logical base for the production and distribution of campaign songs intended for wide circulation.
The kerchief is printed on cotton, the standard fabric for campaign bandannas of the late 19th and early 20th centuries, selected for its durability, affordability, and suitability for large-scale production. The design was most likely executed using roller printing, a mechanized textile process widely employed at the time that allowed for consistent registration and the efficient reproduction of detailed imagery, including portraiture, text, and musical notation. Such methods made cotton kerchiefs effective vehicles for political messaging intended for broad public distribution.
This piece is directly associated with Roosevelt’s 1912 Bull Moose campaign, which followed his break with the Republican Party. Running as the Progressive Party candidate, Roosevelt advanced a platform he termed “New Nationalism,” calling for expanded federal authority to regulate corporations, protect labor, promote social welfare, and strengthen democratic institutions. His decision to run independently represented both a continuation of his earlier reformist policies and a response to what he viewed as the failure of his successor, William Howard Taft, to carry those policies forward.
The 1912 election marked one of the most significant fractures in American political history. After serving two terms, Roosevelt had pledged not to seek another, but growing dissatisfaction with Taft’s conservative approach—particularly regarding trust regulation—drew him back into national politics. When Roosevelt failed to secure the Republican nomination, he and his supporters formed the Progressive Party. Nicknamed the “Bull Moose Party” after Roosevelt declared himself “fit as a bull moose,” the movement became a clear expression of political independence and reformist resolve.
The Progressive platform advocated expanded labor protections, women’s suffrage, environmental conservation, and stricter federal oversight of corporate power—positions that set Roosevelt apart from both Taft and the Democratic nominee, Woodrow Wilson. Although Roosevelt attracted substantial popular support, the divided Republican vote enabled Wilson’s victory. Roosevelt nonetheless carried 88 electoral votes to Taft’s 8, making the campaign the most successful third-party presidential effort in American history. While the Progressive Party itself was short-lived, its ideas exerted lasting influence on later reform movements, particularly those of the New Deal era.
As documented in Threads of History, the portrait of Roosevelt is derived from a photograph taken by the Pack Brothers of New York in 1904, one of the leading portrait studios of the period. The reuse of a well-known formal photograph reflects common early-20th-century practice, in which established images were adapted for mass political dissemination. This exact design is illustrated and cataloged in Threads of History within the Ralph E. Becker Collection of the Smithsonian Institution, providing authoritative institutional confirmation of the kerchief’s design, imagery, and 1912 Progressive-era context.
Political kerchiefs such as this were widely used as wearable symbols of support—worn by adherents, waved at rallies, displayed in storefronts, and retained as souvenirs of significant campaigns. Combining portraiture, slogan, music, and mass-produced textile technology, this example stands as a well-documented artifact of Progressive-era political culture and a surviving witness to one of the most consequential presidential elections in American history.
Conservation Process: This kerchief 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 kerchief, it was first washed in a standard wash and then in a dye setting wash. The kerchief is positioned behind Optium Museum Acrylic.
Frame: The kerchief is housed in a stained wood frame with a broad, sloped profile. The dark finish shows subtle tonal variation that allows the wood grain to remain visible. The profile provides strong visual containment while remaining understated and appropriate for period display.
Condition Report: Condition is good overall, with light surface soiling and scattered small spots or toning, most noticeable in the white areas of the portrait and music panel. The perimeter shows minor edge wear and slight fraying, consistent with age and use. There are no significant tears or losses.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1912
Frame Size (H x L): 6.5” x 8”
Flag Size (H x L): 3” x 5.5”
Offered is a 34-star patriotic flag cover bearing a bold “UNION” printed across the canton within a Great Star arrangement. The placement of text on the canton—rather than along the stripes—is notably desirable and especially associated with the early Civil War period, when patriotic envelopes served as both stationery and expressions of political loyalty. Although this style of cover continued to appear into the 1880s, examples combining a Civil War star count, an uncommon star pattern, and an added slogan remain among the most sought-after varieties.
These patriotic envelopes were typically produced through relief printing in multiple stages, with different elements of the flag design printed from separate blocks or plates. Printers often applied the colors and any accompanying text in successive impressions, each requiring its own inking, alignment, and drying time. Because this work was done quickly and by hand in mid-19th-century job shops, period examples frequently show subtle variations in registration, ink density, and pressure.
The stars are arranged in the Great Star or Grand Luminary pattern, in which smaller stars form the outline of a single large star. This configuration is one of the most visually compelling designs encountered in 19th-century flags. Before President Taft’s 1912 Executive Order introduced the first formal regulations on star placement, American flag makers and patriotic printers enjoyed complete freedom in arranging the stars. Among the diverse patterns that emerged, the Great Star stands out both for its geometric harmony and for its early pedigree.
The pattern is traditionally credited to Captain Samuel Chester Reid, a naval hero of the War of 1812 whose defense of the privateer General Armstrong at the Battle of Fayal delayed a British naval squadron bound for New Orleans. Reid’s actions contributed materially to General Andrew Jackson’s ability to fortify the city, and he was celebrated as a national hero. In 1818, Reid participated in the discussions that produced the Flag Act of 1818, which restored the number of stripes to thirteen and established the practice of adding one star for each new state. Reid recommended the Great Star pattern as a standardized, easily recognizable arrangement, particularly useful for naval identification at long distances. Although no specific pattern was mandated by Congress, Reid’s design achieved considerable influence and enjoyed intermittent commercial popularity from the 1820s through the Civil War and into the Centennial era.
The 34-star flag reflects the admission of Kansas to the Union on January 29, 1861, a moment that carried significance well beyond the addition of a single state. Kansas’s entry concluded nearly a decade of sectional conflict—popularly known as “Bleeding Kansas”—in which pro-slavery and free-state factions violently contested the territory’s political future. Its ultimate admission as a free state on the eve of Lincoln’s inauguration underscored the deepening national divide and served as an early signal of the constitutional crisis that would erupt into civil war within weeks.
This star count became official on July 4, 1861, and remained so until July 4, 1863, when the wartime creation of West Virginia increased the count to 35. Because flag makers typically adopted new star counts immediately upon a state’s admission—rather than waiting for the formal July 4 effective date—many 34-star flags predate the opening shots at Fort Sumter. As a result, this configuration is strongly associated with the transitional period between political fracture and open conflict, and it is widely regarded by collectors as one of the most evocative star counts of the 19th century.
Both 34-star and 35-star flags were used throughout the Civil War and together encompass the official star counts of Lincoln’s presidency, though other star counts appeared in limited or anticipatory forms. They appeared on recruitment broadsides, volunteer militia banners, camp gear, and patriotic ephemera of all kinds, becoming central visual markers of Union identity during the conflict. For this reason, the 34-star configuration—situated at the threshold of war—remains especially prized for its association with the earliest mobilization of Northern sentiment and the preservation of the Union.
This example, combining a Civil War-era star count, a rare Great Star medallion, and a bold UNION slogan printed directly on the canton, represents a compelling intersection of patriotic imagery and wartime sentiment.
Conservation Process: The flag is sandwiched between cotton rag board and a UV resistant acrylic.
Frame: The flag cover is housed in an older wooden frame with a dark, timeworn surface and an applied gilded inner lip.
Condition Report: The cover remains in very good condition with strong color retention and only light scattered surface wear typical of mid-19th-century patriotic envelopes. Minor toning and small handling marks are present but do not detract from the clarity or overall presentation of the piece.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1861-1890
Number of Stars: 34
Associated War: The Civil War (1861-1865)
Associated State: Kansas
Frame Size (H x L): 18.5” x 57”
Banner Length (H x L): 47”
Size of Each Pennant (H x L): 3.75” x 8.75”
Offered is a complete string of felt pennants representing the original Big Ten schools, each triangular in form and crafted from colored felt with bold collegiate lettering and seal graphics printed in contrasting inks. The set includes Indiana (red), Michigan State (green), Illinois (navy with orange), Iowa (gold), Michigan (blue with maize), Minnesota (maroon), Northwestern (purple), Ohio State (red), Purdue (gold), and Wisconsin (red). Each pennant is uniform in size, tapering to a sharp point at the bottom, and displays crisp, collegiate block lettering alongside detailed institutional seals rendered with fine linework. The vibrant color palette, paired with the strong felt texture, creates a striking visual display when presented together as a banner.
The set of pennants dates between approximately 1955 and 1965, a period when collegiate imagery and athletic traditions became central to campus culture across the United States. The inclusion of the original Big Ten schools, along with their institutional seals and formal lettering, reflects mid-20th century design trends that emphasized tradition and academic prestige. During this time, universities were expanding rapidly, fueled by the GI Bill, postwar prosperity, and the Baby Boom generation, all of which contributed to swelling enrollments and a deepening culture of school identity. Collectible felt pennants such as these were popular mementos for students and fans, functioning as both souvenirs and emblems of pride.
The Big Ten Conference itself was entering a defining era in the mid-20th century. Formed in 1896 as the Western Conference, it had become firmly established as one of the nation’s premier athletic and academic alliances by the 1950s. Member schools—Indiana, Michigan State, Illinois, Iowa, Michigan, Minnesota, Northwestern, Ohio State, Purdue, and Wisconsin—were known not only for football and basketball powerhouses, but also for fostering a sense of shared Midwestern identity. Rivalries such as Ohio State vs. Michigan and Indiana vs. Purdue took on even greater significance during this period, drawing national attention and helping to elevate college sports into a cultural force.
The imagery on the pennants is itself an important historical clue in dating the piece. Michigan State University is identified by its full name, which the institution officially adopted in 1955 after previously being known as Michigan State College. This detail confirms that the set could not have been produced before that year. The consistent use of university seals, with their formal Latin inscriptions and detailed institutional crests, reflects a design language common to the 1950s and early 1960s. Later pennants from the late 1960s onward often shifted toward bolder, simplified logos and mascots, part of a broader cultural move toward modern branding and mass marketing.
This period was also one in which college sports were expanding their reach on radio and television, embedding the Big Ten more firmly in the American consciousness. Ohio State’s football dominance under Woody Hayes, Indiana’s and Illinois’ basketball rivalries, and Michigan State’s football rise under coach Duffy Daugherty all occurred within the timeframe of these pennants. Collectors today see such banners not only as decorative pieces, but as artifacts of a golden age of collegiate sport, when the bonds of conference membership and university loyalty were expressed in tangible, enduring forms.
Taken together, these pennants represent more than school pride—they embody the traditions, rivalries, and cultural growth of the Big Ten during the mid-20th century. They tie directly to an era when universities were consolidating their roles as both educational and athletic powerhouses, and when students and alumni alike sought keepsakes that celebrated both their academic institutions and the sports that bound them together.
Conservation Process: This banner 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 banner, it was first washed in a standard wash and then in a dye setting wash. The banner is positioned behind Optium Museum Acrylic.
Frame: The pennants are displayed in a modern frame with a dark finish and simple metallic accents. The frame has a clean, straightforward profile that provides a sharp contrast to the colors of the pennants and allows them to stand out clearly.
Condition Report: The string of pennants remains in strong overall condition, with vibrant colors and well-preserved printed imagery that retains excellent clarity. Minor age toning and light wear can be seen at the edges consistent with handling and display, but there are no significant losses or distracting flaws. The set presents exceptionally well, especially considering its mid-20th century origin.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1955-1965
Frame Size (H x L): 12.25” x 10”
Flag Size (H x L): 2.5” x 3.5” and Affixed to a 6” Staff
Offered is a scarce and visually striking 36-star antique American parade flag, printed on coarse cotton and presented on its original wooden staff. Parade flags such as this were made for short-term patriotic display at parades, political rallies, celebrations, and inaugurations. Despite their ephemeral purpose, they remain among the most evocative and collectible forms of 19th-century Americana.
The stars on this flag are arranged in what is known as a medallion configuration—a visually arresting layout favored during the mid-19th century. At the center of the canton is a large star, encircled by two concentric rings: the inner ring features 10 stars, while the outer ring contains 17. Completing the design are corner stars flanking the medallion. While medallion patterns were especially popular between 1861 and 1876, they largely disappeared from production by 1890, replaced by more uniform rows and columns. Their ornate, almost celebratory feel sets them apart from the rigid star alignments of later eras.
This specific example bears 36 stars, representing the admission of Nevada into the Union. Though Nevada officially joined on October 31, 1864, the 36-star flag did not become official until July 4, 1865—just after the conclusion of the Civil War. Nevada’s statehood was strategically timed. Politically, it was intended to support President Abraham Lincoln’s 1864 re-election and to solidify Republican control during Reconstruction. Economically, the state’s immense silver reserves were seen as critical to financing the Union war effort and addressing postwar debt.
The 36-star flag served as the nation’s official flag for two years, from July 4, 1865, to July 3, 1867. During this time, it flew over a country grappling with the aftermath of the Civil War and beginning the long road toward Reconstruction. It was also used by the U.S. military during the final months of the war. The 37-star flag, recognizing Nebraska’s statehood, would succeed it on July 4, 1867.
Extremely close inspection of this example reveals important details about its manufacture. The flag is printed on a coarse, plain-weave cotton consistent with mid-19th-century domestic cloth. The pigments sit visibly atop the fibers, pooling around the yarn intersections in a manner characteristic of early block or stencil printing rather than later roller-printed methods. The blue displays the dark, slightly green-cast tone associated with Prussian blue, and the red carries the matte, mineral quality of iron-oxide pigments—both typical of inexpensive patriotic printing of the period. Uneven pressure during the print strike softens some stars and enhances others, creating subtle mis-registration that underscores its hand-guided, utilitarian origins.
Conservation Process: The 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 early American, splined-miter frame dating to approximately 1830–1860, retaining its original lampblack or ‘dry black’ surface. The hand-cut joinery, early iron hanging hardware, and oxidized hardwood construction are all consistent with antebellum rural framing practices.
Condition Report: The flag survives in honest condition with scattered small losses and light surface wear typical of early printed parade flags on open-weave cotton. Most distinctive is the originally irregular top edge, where the trimming or print strike cuts partially into the canton and grazes the upper red stripe — a characteristic result of the rudimentary, hand-guided production methods used for these inexpensive flags. Despite its modest imperfections, it retains strong visual character and an appealing, untouched presentation.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1864-1867
Number of Stars: 36
Associated War: Civil War (1861-1865)
Associated State: Nevada
Frame Size (H x L): 15.25” x 14.5”
Flag Size (H x L): 6” x 9”
Offered is a 13-star American flag, printed on glazed cotton, that displays a bold and distinctly folk-like character. The canton features thirteen white stars arranged in a medallion pattern, with a large center star encircled by a ring of eight and complemented by one in each corner. The stars vary slightly in proportion and spacing, underscoring the hand-rendered quality of the design despite its printed manufacture. The stripes, rendered in alternating red and white, extend the full length of the flag, with areas of uneven inking and light wear. The glazed finish lends a subtle sheen, and the fabric presents a strong yet time-softened appearance typical of the period.
While the size of this flag may initially appear to be small, it is in fact an unusually large and rare size for the era. The most typical printed parade flags produced for the Centennial measured just 2" x 3", whereas the example offered here measures 6" x 9"—approximately three times larger than the common variety.
The nation’s Centennial in 1876 sparked widespread patriotism and served to reunite citizens in the decade following the Civil War. Communities across the country organized parades and public events, and homes and buildings were decorated with red, white, and blue. The largest celebration was the Centennial International Exposition in Philadelphia, which welcomed nearly ten million visitors over six months and introduced groundbreaking innovations such as the Corliss Steam Engine and Alexander Graham Bell’s telephone.
During the Centennial year, President Ulysses S. Grant signed the proclamation admitting Colorado as the 38th state. The official star count remained 37, but flag makers often produced 38-star flags in anticipation of Colorado’s addition. Thirteen-star flags also appeared widely, chosen for their historical connection to the nation’s origins. This echoed the original 1777 resolution of the Continental Congress, which specified a flag with thirteen stripes and thirteen stars to represent the new union.
Although officially replaced in 1795, 13-star flags remained in use for special occasions. They flew on small U.S. Navy boats until 1916, at George Washington’s death in 1799, and during the nation’s 50th anniversary in 1824, when they were displayed to honor General Lafayette’s return tour. They were also used during the Mexican War of 1846–48 and during the Civil War of 1861–65, both periods when patriotism encouraged the display of historical emblems. Their presence in the Centennial celebrations reinforced a direct link to the Revolutionary era and to the ideals on which the nation was founded. This 6" x 9" example reflects that tradition in both form and symbolism.
Conservation Process: The 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 a dark-stained wooden frame with a peaked crest, giving it an architectural form. At the top is a carved patriotic motif featuring a federal shield flanked by stylized rays and foliate elements, reinforcing its American theme. The frame shows some age and wear, consistent with an early 20th-century origin, and was chosen to complement the historic character of the flag while emphasizing its patriotic symbolism.
Condition Report: The flag shows moderate wear consistent with its age, including light fraying along the fly end and minor tears at the upper-left corner. The printed colors have softened over time, with scattered areas of fading and uneven inking visible in both the canton and the stripes. Overall, the flag remains strong and displays well, with condition that is very attractive for a Centennial-era printed example.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1876
Number of Stars: 13
Associated War: The Indian Wars (1860-1890)
Associated State: Original 13 Colonies
Frame Size (H x L): 17” x 13”
Flag Size (H x L): 4” x 6” on a 10” Staff
Offered is an Ohio state flag, dating to 1925. It is an exceptional artifact of historical significance, crafted to honor the life and legacy of Daniel M. Hall, a celebrated Civil War veteran and National Commander of the Grand Army of the Republic (“GAR”). Made from plain weave cotton, the flag reflects the practical materials commonly used for commemorative items of the period. The cotton is treated with a finish to make it more durable and water-resistant, mimicking the qualities of oilcloth.
Its distinctive swallowtail design, featuring vibrant red, white, and blue elements, mirrors the official Ohio state flag adopted in 1902, a design inspired by Civil War cavalry guidons. Mounted on its original wooden staff, this flag was intended for ceremonial use, serving as a reminder of Hall’s legacy.
What elevates this flag’s historical importance is its overprint, stamped in black ink on the striped field. Enclosed within a laurel wreath, the inscription reads, “GAR Post, Dan Hall, Columbus, OH,” directly tying the flag to the GAR and specifically commemorating Hall’s death in 1925, just before his 83rd birthday. Flags with overprints dedicated to specific individuals are rare, making this an especially coveted piece for collectors.
The GAR, founded in 1866, was one of the most influential veterans’ organizations in American history. Dedicated to uniting Union Civil War veterans, the GAR blended social fellowship with political advocacy. Members, often called “comrades,” donned their wartime uniforms to march in parades, participate in reunions, and advocate for veterans’ benefits such as pensions. The organization also played a central role in establishing Memorial Day as a national holiday. Structurally, the GAR mirrored the military, with local “posts” acting as chapters under the leadership of state and national commanders. By fostering a sense of brotherhood and preserving the memory of Union service, the GAR had a profound impact on postwar society and veterans’ rights.
Daniel M. Hall exemplified the dedication and leadership of the GAR’s membership. Born on October 20th, 1842, Hall served with distinction in the 2nd and 12th Ohio Cavalry regiments during the Civil War. After mustering out in 1865, he became deeply involved in veterans’ affairs, joining the Hamlin Post of the GAR in Columbus, Ohio, in 1883. Hall’s organizational skills and leadership propelled him to prominence, ultimately serving as the Commander of the Ohio Department and later as National Commander-in-Chief. His efforts focused on preserving the bonds of fellowship among veterans and honoring their sacrifices. Hall’s passing in 1925 marked the loss of a respected leader, memorialized through artifacts like this flag.
The Hamlin Post, based in Columbus, was among many GAR chapters that served as vital centers for veterans’ social and charitable activities. Posts like Hamlin provided support to veterans and their families, organized community events, and preserved the shared memory of Union service. Under Hall’s leadership, the Hamlin Post became an integral part of the GAR’s Ohio Department, further elevating its historical significance. The creation of this overprinted flag in Hall’s memory underscores the deep respect he commanded within the organization and the lasting impact of his contributions.
The Ohio state flag itself, adopted in 1902, is among the most distinctive in the United States. Designed by Cleveland architect John Eisenmann, it was created for the Pan-American Exposition in Buffalo, New York, in 1901. Its unusual swallowtail shape sets it apart, drawing inspiration from both Civil War-era cavalry guidons and maritime burgees. This shape, along with its bold and symbolic design, captures the spirit of Ohio’s heritage and geography. At its center is a red disc set within a white circular field, representing the letter “O” for Ohio and the buckeye, the state’s iconic symbol. Five alternating red and white stripes symbolize the state’s waterways and roads, while the blue triangular field, representing hills and valleys, features 17 stars: 13 for the original colonies and four more to signify Ohio’s admission as the 17th state.
This symbolic depth, paired with its unconventional design, ensures the Ohio flag’s enduring appeal. Over the decades, it has been a source of pride for the state and its citizens, appearing in civic ceremonies and historical commemorations alike. The flag’s resemblance to Civil War guidons serves as a reminder of Ohio’s significant contributions to the Union during the Civil War, while its design elements reflect the state’s natural and cultural heritage. Together, the Ohio flag and artifacts like this overprinted version serve as emblems of the state’s history and the lasting legacy of its citizens.
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 walnut and dates from 1860 to 1890. Its dark wood and simple craftsmanship reflect the style of the period.
Condition Report: The flag is in remarkably clean and well-preserved condition, with vibrant colors and minimal signs of wear. Only a few faint yellow stains are visible, adding subtle character while not detracting from its overall appearance.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1925
Price: Please call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 18” x 26”
Pennant Size (H x L): 8.5” x 16.5”
Offered is a pennant made of cotton. It has a triangular shape with a yellow background, a common color used in the women’s suffrage movement. The text "VOTES FOR WOMEN" is boldly printed in black capital letters across the surface, emphasizing the message central to the early 20th century suffrage campaign.
The pennant is a symbolic artifact from the women’s suffrage movement, which was a pivotal social and political campaign of the late 19th and early 20th centuries. In the United States, the movement sought to secure women's right to vote and challenged the entrenched inequalities in political representation. The suffrage movement emerged in response to broader conversations about civil rights, as women activists argued that they, too, should be granted the same voting rights that men enjoyed. This effort reached its height in the early 20th century, as suffragists organized rallies, distributed literature, and used visual symbols like pennants to garner public support for their cause.
The use of pennants like this one became a powerful tool for protest, as they were easily portable, visually striking, and could be displayed in public spaces to attract attention to the suffrage cause. The yellow color was often associated with the suffragist movement in the U.S., particularly the National Woman’s Party, which was one of the most prominent organizations advocating for women’s voting rights. This vibrant hue, combined with slogans like "Votes for Women," helped unify supporters of the cause and provided a sense of solidarity in the fight for equality. The phrase “Votes for Women” became a rallying cry that encapsulated the demands of the movement.
The suffrage movement faced significant opposition from those who believed that granting women the right to vote would disrupt traditional gender roles and undermine social stability. Despite these challenges, activists like Susan B. Anthony, Elizabeth Cady Stanton, and later Alice Paul continued their advocacy, using peaceful protests, lobbying efforts, and visual campaigns to pressure politicians and influence public opinion. As the movement gained momentum, these symbols of suffrage, such as pennants, buttons, and banners, became increasingly visible across the country.
Ultimately, the persistence of the women’s suffrage movement led to the ratification of the 19th Amendment to the U.S. Constitution in 1920, which prohibited the federal government and states from denying citizens the right to vote based on sex. This monumental victory came after decades of tireless activism and was a turning point in the struggle for gender equality in America. The "Votes for Women" pennant, therefore, not only represents a specific moment in history but also serves as a lasting symbol of the determination and resilience of the suffragists who fought for political inclusion.
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, it was first washed in a standard wash and then in a dye setting wash. The pennant is positioned behind Optium Museum Acrylic.
Frame: The frame has a sleek, modern design with a black outer edge and an inner metallic silver border. It features multiple beveled layers, creating a visually striking contrast that enhances the presentation of the pennant.
Condition Report: The pennant is in generally good condition, showing some signs of aging with light discoloration and a few small stains. These minor imperfections are typical for an artifact of its age, and they add to its historical character.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1910-1920
Frame Size (H x L): 11.5” x 13.5”
Flag Size (H x L): 3.5” x 6”
Offered is an exceptional parade flag with the following, handwritten overprint:
From Miss Mary,
Go Leila, Remembrance
of the School
Mendham. June 18th 1891.
Select School
of Miss Mary & Miss Leila
Babbitt
Mary and Leila Babbitt founded the Babbitt Select School in 1884, in Mendham, New Jersey. Mendham is nestled in the hills of Morris County. Unfortunately, beyond this, little seems to be known about the Babbitt’s or the school. But even so, this is a special flag, in that we know where it began its life and how it was used.
Seven-star flags surface in a smaller size and a larger size. The smaller sized flags are approximately two inches by three-and-a-half inches. In contrast, the larger sized flags are approximately three-and-a-half inches by five-and-a-half inches, and they are much rarer than the smaller sized flags. The flag offered herein is one of the larger sized flags.
Thirteen-star parade flags were commonly waved at centennial celebrations in 1876, which were held across the country and, most notably, in Philadelphia at the Centennial International Exhibition. The seven-star flag offered herein is similar, but instead made with southern sympathies to commemorate the first wave of states that seceded from the Union, beginning in 1861. The first wave included Louisiana, Georgia, Alabama, Florida, Mississippi, South Carolina, and Texas. A second wave included Arkansas, Tennessee, North Carolina, and Virginia, and it completed the final grouping of the Confederate States of America. Not only did Southerners (and Southern Sympathizers) wave seven-star parade flags, they also occasionally waved eight-star and nine-star versions, though with much less frequency. They, too, celebrated the initial wave of states seceding from the union.
New Jersey, though geographically situated in the North and typically aligned with the Union during the American Civil War, harbored a complex array of political and social sentiments during the era. While the state's industry and economy largely benefited from its ties to the North, many of its residents, particularly those in the agricultural southern regions, felt a cultural and economic affinity with the South. These sympathies were rooted in New Jersey's historical connections to the South, its agrarian interests, and the state's contentious stance on issues such as slavery and states' rights. The state even had a "Peace Democrat" or "Copperhead" faction, which opposed the Civil War and advocated for a negotiated peace with the Confederacy. While New Jersey did not secede and its troops fought valiantly for the Union, it's evident that the state's loyalties during this tumultuous period were more nuanced than a simple North-South dichotomy might suggest. Such complexities might explain why the flag offered herein traces to New Jersey, despite such flags (i.e., seven star flags) typically tracing back to the South.
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 are stains across the surface. The red and blue portions have faded slightly. There is some damage to the vertical white strip. Overall, it is attractive and age appropriate.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1888
Number of Stars: 7
Associated State: The Confederate States
Frame Size (H x L): 13.25” x 17”
Flag Size (H x L): 7.5” x 10.5”
Offered is an American parade flag bearing an anticipatory 46-star count, printed on silk and overprinted to commemorate a specific civic and military event. The flag features a blue canton with white stars arranged in a lineal configuration, paired with red and white stripes. The stars display modest directional variation, a characteristic commonly encountered in printed parade flags of the late 19th century.
This example is overprinted with the following inscription:
Reception to the Fighting 20th, Topeka Kas., Nov. 2, 1899.
The text identifies the flag as having been produced for a public reception held in Topeka, Kansas, welcoming home the 20th Kansas Volunteer Infantry following its return from service in the Philippines. Contemporary Kansas records note that in November 1899 the regiment was formally received at the statehouse, confirming the civic nature and scale of the event referenced in the overprint.
The 20th Kansas Volunteer Infantry was among the volunteer regiments raised during the Spanish-American War and remained on duty beyond the formal conclusion of that conflict, serving during the Philippine-American War. Regiments that experienced extended or active service were often described in period sources as “fighting” units, a term used contemporaneously to distinguish them from units whose service was brief or limited to stateside duty. The language employed in the overprint reflects this period usage.
Although the 46-star flag did not become official until July 4, 1908, following Oklahoma’s admission to the Union in November 1907, flag manufacturers routinely produced designs in advance of anticipated state admissions. These anticipatory star-count flags were a recognized and accepted part of the American flag trade. Oklahoma’s statehood was widely expected well before its formal admission, and 46-star designs were prepared for patriotic use accordingly.
The overprint required a secondary printing step applied after the flag itself was produced, typically for a single event. Flags of this type were intended for short-term display during parades, receptions, and related public observances and were commonly subjected to outdoor use. Survival rates are low, particularly for examples with legible inscriptions tied to a specific regiment, place, and date.
This is the first parade flag we have encountered with this particular overprint. While it is not possible to state definitively that no others survive, examples of this exact type appear to be extremely limited in number. Whether unique or among only a few remaining, the flag represents a highly uncommon convergence of anticipatory manufacture and documented civic use.
Rather than serving as a generalized patriotic emblem, this flag documents a specific moment in Kansas and U.S. military history. Its star count reflects national expectation on the eve of statehood, while its overprint fixes it to a recorded homecoming reception honoring a returning regiment at the close of the 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: The flag is housed in a period-painted wooden frame with reeded molding and applied star corner blocks, a style commonly produced in the early 20th century. The form and decorative elements are consistent with examples dating to circa 1900–1920, including the World War I era. The surface shows expected age and wear appropriate to its period.
Condition Report: The flag shows expected age-related wear consistent with use, including light soiling and scattered minor stains, most noticeable in the white stripes. Colors remain strong overall, and the fabric is stable, with the overprint clear and fully legible. There are no significant losses or structural issues that detract from display.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1899
Number of Stars: 46
Associated State: Oklahoma
Frame Size (H x L): 31.5” x 34”
Bandanna Size (H x L): 20.5” x 23”
Offered is a rare 1912 Teddy Roosevelt campaign bandanna. It is printed on red silk with beige and black designs of two of Teddy’s hats and three moose. The large moose, in the center, is surrounded by a red and white floral pattern, and the pattern is surrounded by a red border. The Progressive Party campaigned heavily with the use of flags and bandannas, yet this style is particularly hard to find.
Campaign bandannas were initially produced beginning in the first quarter of the nineteenth century, but became a particularly popular campaign tool in the time period between 1850 and 1920. They were worn, presented in store fronts, waved in parades, flown at political rallies, and hung from buggy whips.
An example of this bandanna is documented in the Threads of History, written by Herbert Ridgeway Collins (see item number 939). Mr. Collins was the curator of the Division of Political History at the Smithsonian Institute. His book is the best reference available for political textile collectors and includes over fifteen-hundred examples, dating from 1775 to 1979. In writing his book, Mr. Collins sent thousands of letters to collectors, museums, and universities, and requested their assistance in his quest to document every known political textile.
Theodore Roosevelt—a writer, soldier, naturalist, and statesmen—was the 26th president of the United States from 1901 until 1909. Roosevelt was elected as the governor of New York in 1898, and in this position, he was a reformer who was best known for removing corrupt officials and regulating corporations. Such actions irritated Republican leaders. And in response, they urged him to run as the vice presidential nominee with William McKinley in 1900, the thought being that Roosevelt's vice presidential role would be ceremonial in nature and sidetrack him from continuing to reform and regulate. In 1901, however, McKinley was assassinated, and Roosevelt became the youngest president in history.
Roosevelt was known for raising awareness of the nation's role in world politics, trust busting, regulating the railroads, and continuing to fight political corruption. Notably, in 1902, Roosevelt intervened in the anthracite coal strike upon threats to cut off heating fuel for homes, schools, and hospitals. He responded by stating that the army would run the mines, and by having Wall Street withhold credit to the coal companies and dump their stocks. His actions ended the strike and resulted in a pay increase for the miners. This was the first time that a President had publicly intervened in a labor dispute for the laborers, and he characterized his actions as working toward a "Square Deal" between capital and labor. This became Roosevelt's slogan in his 1904 election, in which he ran against democratic contender Alton Parker. Roosevelt overwhelmingly defeated him by 336 electoral votes to 140. He carried every region in the Union, minus the South.
In 1908, Roosevelt honored his promise not to run for a third term, and he persuaded William Taft to become his Republican successor. Taft defeated William Jennings Bryan for the presidency in 1908, and he defeated Roosevelt for the Republican nomination in 1912. Taft was a conservative republican, and Roosevelt was a progressive republican. Because of this difference and Roosevelt's frustration with not getting the Republican Party's nomination, he formed the Progressive Party, nicknamed the Bull Moose Party following a letter from Roosevelt declaring that he considered himself "as strong as a bull moose." Roosevelt argued for a "New Nationalism" in support of greater governmental regulation and promotion of social welfare, in hopes of attracting votes from the Democratic nominee, Woodrow Wilson. Despite Roosevelt's message and popularity, Wilson easily defeated him by 435 electoral votes to Roosevelt's 88. The Progressive Party elected very few candidates, and as a result, Roosevelt knew it was not a viable long-term party. He kept it alive, but only to the extent that he could use it as a bargaining chip for his return to the Republican Party.
Conservation Process: This bandanna 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 bandanna, it was first washed in a standard wash and then in a dye setting wash. The bandanna is positioned behind Optium Museum Acrylic.
Frame: This offering is in our X-Large Distressed Black and Silver Frame.
Condition Report: This bandanna has a few small holes. In other respects, it is in excellent condition.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1912
Sign Size (H x L): 22.25” x 61.5” x 1”
Offered is a distinctive early 20th-century antique trade sign for the "J.T. McMillan Sanitary Meat Market". The sign’s charming historical character is defined by its bold, black lettering accented with a yellow silhouette, which stands out against the oyster-white background, ensuring high visibility and a classic, eye-catching appeal. The sign possesses a commanding presence, ideal for a feature display.
The story of J.T. McMillan and his son, J.T. McMillan Jr., stands as a testament to ingenuity, enterprise, and the spirit of innovation that transformed the meat packing industry in the United States. Their legacy is not only a narrative of a family business but also a chapter in the broader history of American commerce and labor relations.
James T. McMillan, born in Belfast, Ireland in 1839, embarked on a journey to the United States with a vision of prosperity and opportunity. Settling in St. Paul, Minnesota, McMillan leveraged his tenacity and business acumen to establish a meatpacking venture that would grow to become a hallmark of quality and efficiency. In 1871, he laid the foundation of what was to become the J.T. McMillan Company, a name that would resonate with trust and quality in the meat industry.
McMillan's approach to meat packing was revolutionary. At a time when the industry was characterized by fragmented operations and unsanitary conditions, the J.T. McMillan Company pioneered methods of refrigeration and mechanization that would set new standards. His commitment to quality was reflected in the company’s products, which soon became synonymous with wholesomeness and were sought after across the region.
J.T. McMillan was not only an industrialist; he was a community pillar in St. Paul. His contributions to the local economy and the well-being of its residents were profound. He provided employment, stability, and growth in a period of rapid industrialization, often leading the charge in adopting practices that would benefit both his company and the community.
Following in his father’s footsteps, J.T. McMillan Jr. continued to expand and innovate within the meat packing industry. Under his guidance, the company adapted to the changing times, embracing new technologies and expanding their reach to new markets. It was during this era that the company faced the tumultuous challenges of labor unrest, indicative of the growing pains of an industrial nation. In 1920, the Butcher Workmen's strike at the packing plant called attention to the need for fair labor practices and equitable wages. The strike, which included both male and female workers, resulted in a significant step towards improved conditions and was a pivotal moment in labor history.
The McMillan meat packing enterprise was more than a business; it was a microcosm of the American dream, embodying the transformation of a nation through the lens of industry. The senior McMillan's immigrant success story and the junior McMillan's navigation through the complexities of early 20th-century labor relations provide a narrative rich with themes of ambition, struggle, adaptation, and progress.
Today, the remnants of the J.T. McMillan Company serve as a reminder of the indelible impact that the McMillan’s had on the American meat packing industry and the labor movement. Theirs is a story that underscores the multifaceted nature of progress, highlighting both the industrial prowess and the human elements that drive the evolution of commerce and community.
Condition Report: Crafted from pine, the sign showcases the authentic patina of age, including wear commensurate with its use. Its condition tells a story; while the sign displays well, it shows evidence of several restorative attempts, such as nailing and applied moldings, which add to its authenticity and charm.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1900-1930
Frame Size (H x L): 38” x 53”
Flag Size (H x L): 27” x 42”
Offered is an antique flag, printed on glazed cotton, with a “CLEVELAND & HENDRICKS” campaign overprint. Cleveland was the presidential nominee for the Democratic Party in 1884. His vice-presidential running mate was Thomas A. Hendricks. They ran against James G. Blaine, who was the presidential nominee for the Republican Party, and John A. Logan, who the vice-presidential nominee. Cleveland and Hendricks defeated Blaine and Logan. The Cleveland ticket won 219 electoral votes and 48.9% of the popular vote, while the Blaine ticket won only 182 electoral votes and 48.3% of the popular vote.
STAR COUNT
In 1884, the official star count was thirty-eight. However, despite the flag being offered herein having so clearly been associated with the 1884 Cleveland and Hendricks campaign, it has just thirty-six stars. This “lower than expected star count” is the result of one of these possibilities:
As a first possibility, this flag may have been made during the Civil War or shortly thereafter; placed into storage, unsold; and then overprinted for the campaign of 1884. Under this possibility, this flag may have been made between 1864 and 1867, and then left in storage until it was overprinted and distributed in 1884.
As a second possibility, this flag may have been made with an outdated printing block. Cutting printing blocks was an arduous task. Thus, makers sometimes used older, outdated blocks in later years, in order to save time and avoid the effort associated with making new ones.
As a third possibility, this flag may have been made without much thought at all going into choosing the star count. During the 19th century, there was a general randomness with respect to star counts. Neither makers nor buyers were particularly disciplined with respect thereto, perhaps in part because the star count changed so frequently in the 19th century, and also perhaps in part because early flags were crude in every respect, the star count being no different. Under the second and third possibilities, this flag would have been made in 1884.
Ultimately, as viewed from the outer bounds of this trio of possibilities, the flag itself would have a “not earlier than date” of 1864 and a “not later than date” of 1884. And regardless of the age of the underlying flag, the overprint would have been applied thereto in 1884—basically, (1) after Cleveland and Hendricks were chosen as nominees, and (2) after the flag was taken from storage or immediately after the flag was printed, depending on the circumstances.
CONSTRUCTION
The stripes of this flag are closer to orange than red, and they are striking in their appearance. This unusual color is common in flags dating to between 1850 and 1880, because during this time period, makers often used either madder or cochineal to create the red dye. Over time, such dyes would oxidize and turn orange.
This flag is 27” x 42”, making is relatively large in scale compared to most printed campaign flags of the era. In turn, it makes a bigger statement and is more desirable than most of its peers, in this important respect.
THIRTY-SIX STAR FLAGS GENERALLY
The thirty-six star flag represents the inclusion of Nevada to the Union. 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 Optium Museum Acrylic.
Frame: This offering is in our X-Large Distressed Black and Silver Frame.
Condition Report: As shown in the photos, this flag has light stains throughout its surface. The darkest stains run along the white stripe that is the second one from the bottom. These stains may be rust marks from nails attaching the flag to a staff (i.e., perhaps when the flag was rolled around the staff and nails). The bottom third of the canton has been professionally restored. Prior thereto, this portion of the canton had faded much more than the others portions thereof. The “CLEVELAND & HENDRICKS” overprint is faded, more so over the red stripes than over the white stripes. Despite these issues, this flag is age appropriate, attractive, and impressive. It is a statement maker and head turner.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1864-1884
Number of Stars: 36
Associated Wars: The Civil War (1861-1865) and the Indian Wars (1860-1890)
Associated State: Nevada
Frame Size (H x L): 31.5” x 38.5”
Dress Size (H x L): 20.5” x 27.5”
Offered is a patriotic dress made of thirty-eight star antique flags. In 1876, during the centennial celebrations of American Independence, women and girls would often wear patriotic dress. These dresses—vibrant in the red, white, and blue—often featured motifs of stars and stripes, mirroring the American flag. This choice of apparel was more than just a fashion statement; it symbolized a deep sense of national pride, allowing women and girls to actively participate in the commemoration of the country's hundredth anniversary. The styles of these dresses varied, some being simple with flag-colored sashes, while others were more elaborate, adorned with layers of ruffles and star-spangled designs. For many, dressing in such symbolic attire was a way to nurture a sense of national identity, and their presence in these colorful, emblematic outfits became a striking and memorable feature of the 1876 centennial celebrations.
In the case of the dress offered herein, it is made of thirty-eight star flags (an example of which is shown in the last image). The flags exhibit an extremely rare star pattern, in which there are larger stars arranged linearly and smaller stars arranged in a medallion, amongst the larger stars. More specifically, pattern includes six linearly arranged larger stars in each of the first, second, fifth, and sixth rows. And it includes four linearly arranged larger stars in each of the third and fourth rows. The stars in the first row are generally canted to the 11:00 position, while the stars in the second row are alternatively, generally canted to the 1:00 position. The stars in the other rows are canted haphazardly, which adds to this flag’s folksiness.
The most interesting feature of this star arrangement, however, is the medallion of six smaller stars. Printing on cotton typically employed wooden blocks, which were hand-cut so as to leave raised surfaces bearing the desired pattern. The block used in printing this flag was originally used for printing thirty-six star flags with a linear 6-6-6-6-6-6 pattern. For convenience, this block was then recut, so that the middle four stars could be removed and replaced with the six smaller stars. Flags printed with recut blocks are quite unusual and rare, and thus highly prized by collectors.
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: The dress 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 dress, it was first washed in a standard wash and then in a dye setting wash. The dress is positioned behind Optium Museum Acrylic.
Frame: The dress is showcased in our Large Distressed Gold Frame.
Condition Report: As shown in the photos, there is some staining, foxing, and bleeding of red into the white. Despite this, the dress presents wonderfully.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1876
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Frame Size (H x L): 18” x 36.5”
Pennant Size (H x L): 8” x 24.75” with 2” ties
Offered is an antique pennant with a “NEBRASKA DRY 1916” overprint. It is made of felt and includes a blue field with white lettering.
In the early 20th century, amid an intense national debate over the role of alcohol in society, many states began to consider prohibition measures. This "NEBRASKA DRY 1916" pennant offers a window into the fervor of the prohibition movement and its impact on the state of Nebraska.
The late 19th and early 20th centuries in America saw the rapid growth of the temperance movement, which advocated for the reduction or elimination of alcohol consumption. This movement was rooted in concerns about public morality, the social ills associated with drunkenness, and the influence of saloons in politics and community life. Organizations like the Woman's Christian Temperance Union (WCTU) and the Anti-Saloon League played central roles in pushing for prohibition at both the state and national levels.
By the time the pennant was created, Nebraska was no stranger to the debates surrounding alcohol. The state's engagement with prohibition began much earlier than 1916, with localized movements and laws restricting or banning the sale of alcohol. However, it was in 1916 that Nebraska's relationship with alcohol reached a significant turning point. That year, the state passed a prohibition amendment to its constitution. The subsequent law went into effect in 1917, making Nebraska one of the many states to embrace prohibition before the nationwide ban in 1920.
The "Nebraska Dry 1916" pennant would have been a potent symbol during this period. Its bold proclamation of "dry" signified Nebraska's stance against the sale and consumption of alcohol. Given its celebratory tone, the pennant was likely used to rally support during the campaign leading up to the vote or to commemorate the passage of the prohibition amendment.
This pennant, as a historical artifact, carries layers of meaning. On a basic level, it represents Nebraska's decision to go "dry" and the state's role in the broader national movement towards prohibition. The pennant serves as a testament to the intense social and political activism of the era, where grassroots movements could galvanize public opinion and effect legislative change.
However, beyond the immediate historical context, the pennant also embodies the broader cultural tensions of the early 20th century. The fight over prohibition was not just about alcohol; it was intertwined with debates over public morality, the role of women in public life (given their significant role in the temperance movement), and the struggle between rural and urban values in a rapidly changing America.
The pennant is a snapshot of a transformative era in Nebraska and American history. Through objects like this, we are reminded of the power of collective movements and the ways in which society's values evolve over time.
Conservation Process: The 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, it was first washed in a standard wash and then in a dye setting wash. The pennant is positioned behind Optium Museum Acrylic.
Frame: The pennant is in a modern black and silver frame.
Condition Report: There is some staining, most notably over the white vertical strip and over the lettering. Overall, the pennant is age appropriate and attractive.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1916
Frame Size (H x L): 24” x 47”
Pennant Size (H x L): 13” x 36”
Offered is an antique pennant with a “JOHN DEERE ‘34” overprint. It is made of felt and has a green field. The lettering and hoist stripe are white. It was made to promote the release of the John Deere Model A tractor. It is the first such pennant that we have encountered.
The John Deere Model A tractor, produced between 1934 and 1952, represents a significant chapter in the history of American agriculture. It was during this period that the United States was in the throes of the Great Depression and then transitioned to a war economy during World War II. In this context, the Model A emerged not just as a tool for the farm but as a symbol of resilience and innovation.
The story of the Model A began when John Deere recognized the need for a more versatile and robust tractor than what they had previously offered. The company's prior model, the "D," had been on the market since 1923. While it had its merits, there was a need for a machine that could cater to a broader range of tasks. With that vision, the development of the Model A commenced.
In 1934, John Deere did not hold a singular, major publicity event specifically for the Model A tractor as we might envision a product launch today. However, John Deere made considerable efforts to market and publicize its new tractor to the farming community. Dealerships showcased the new models, and they were featured in farming magazines and other advertisements of the time. They were also showcased at fairs, farm shows, and other similar events.
The Model A was equipped with a 2-cylinder engine. Its design was both practical and innovative. Unlike many of its contemporaries, the Model A's engine started on gasoline and then, once warmed up, could switch to run on cheaper kerosene. This dual-fuel system was a cost-saving feature that made it particularly attractive to farmers during those economically challenging times.
Several features distinguished the Model A from other tractors of the era. Its engine was not only powerful but also boasted a design that allowed it to operate efficiently at lower RPMs. The tractor also had an adjustable wheel tread and a wide front end, making it adaptable to different crop rows—a crucial feature for diverse agricultural tasks. Another key feature was the presence of an easy-to-use hand clutch. This clutch made it possible for the operator to control the tractor's speed without stopping, thus ensuring smooth operation.
But the Model A wasn't just about new features; it also reflected John Deere's commitment to durability. Its construction was robust, with high-quality materials ensuring that the tractor could withstand the rigorous demands of daily farm use. This commitment to quality made the Model A a favorite among farmers and ensured that many units remained operational for decades.
Over its production run, the Model A underwent several modifications to further improve its efficiency and adapt to the evolving needs of American farmers. By the time production ceased in 1952, it had firmly established itself as one of the most iconic tractors in John Deere's lineup. Numerous units are still operable today, a testament to the Model A's enduring design and reliability.
The John Deere Model A tractor is not just a piece of machinery but a part of American agricultural history. It symbolizes a period of challenge and change, reflecting both the economic hardships and the technological progress of its time. Through its innovative design, adaptability, and durable construction, the Model A proved to be a tool of progress for farmers across the nation.
Conservation Process: The 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, it was first washed in a standard wash and then in a dye setting wash. The pennant is positioned behind Optium Museum Acrylic.
Frame: This offering is in our X-Large Distressed Black and Silver Frame.
Condition Report: There are two pinholes in the hoist strip, likely the result of the pennant being attached to a staff. There is some fading and staining. There are some losses to the felt, but they have been masked with green fabric. Overall, the pennant is age appropriate and attractive.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1934