Frame Size (H x L): 22.5” x 43.5”
Pennant Size (H x L): 12” x 29.75” with 4” tassels.
Offered is a vintage University of Iowa felt pennant, dating to approximately 1950–1960. Rendered in Iowa’s familiar black and gold, the pennant features a large flying hawk beneath the phrase “The Hawk Eyes,” followed by an oversized “IOWA” extending nearly the full length of the field. Its animated imagery, bold typography, and elongated proportions make it a strong example of mid-20th-century collegiate souvenir design.
The pennant is constructed from black felt and finished along the hoist with a narrow yellow felt binding. Four yellow felt ties extend from the top and bottom, allowing the pennant to be secured to a wall, display rod, or other support. This tie-style construction was commonly used on collegiate and athletic pennants during the first half of the 20th century and remained popular into the postwar years. The long, sharply tapered body gives the piece a dramatic horizontal presence, while the yellow decoration stands out clearly against the black ground.
Near the hoist is a detailed illustration of a hawk in flight. The bird is shown with raised wings, spread tail feathers, extended talons, and an open beak. Fine black lines define the feathers, face, body, and claws within the yellow silhouette, giving the image more detail than is usually encountered on later collegiate pennants. A small varsity-style letter appears on the bird’s head, further linking the image to the University of Iowa and its athletic programs.
Above the bird appears the phrase “The Hawk Eyes,” divided into two lines and rendered in serif lettering. The two-word treatment is noteworthy. Although “Hawkeyes” had long been established as the nickname for Iowans and the university’s athletic teams, souvenir manufacturers sometimes altered familiar names for graphic effect. Here, the phrase may also have been intended as a playful reference to the watchful bird shown immediately below.
The remainder of the pennant is dominated by the word “IOWA.” The lettering decreases in scale as it follows the narrowing shape of the felt field toward the point. This arrangement allowed the manufacturer to make full use of the available space while preserving the pennant’s strongly tapered profile. The substantial serif lettering and slight irregularity of the composition are characteristic of collegiate graphics made before school logos and athletic identities became more rigidly standardized.
The University of Iowa’s association with the Hawkeye name dates well before the manufacture of this pennant. By the middle of the 20th century, hawk imagery had become an increasingly important part of the university’s visual identity. The cartoon mascot later known as Herky the Hawk originated in the late 1940s and helped transform the Hawkeye from a regional nickname into a recognizable athletic character.
The bird shown here appears to belong to that early period of mascot development. Rather than the upright, humanlike figure commonly associated with later versions of Herky, this pennant presents a largely naturalistic hawk with an exaggerated expression and collegiate insignia. This combination is consistent with the transitional mascot imagery of the postwar years, when manufacturers often created their own interpretations of school symbols.
The pennant’s construction and graphic treatment support a date of approximately 1950–1960. Its black felt body, separately applied yellow hoist and ties, detailed surface-printed illustration, traditional serif lettering, and early interpretation of the Iowa hawk all correspond with collegiate pennants made during the 1950s.
With its expressive flying hawk, unusual “The Hawk Eyes” wording, and especially bold presentation of the Iowa name, this pennant captures the spirited visual culture surrounding American college athletics during the postwar era.
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 is presented in a substantial black frame with a classic reverse-scoop profile and satin finish. A narrow gilded inner edge adds definition and complements the pennant’s yellow graphics.
Condition Report: The pennant is in good overall condition for its age, with scattered cracking and minor loss to the yellow printed decoration, most noticeably within the final letters of “IOWA.” The pointed end shows fraying, thinning, and a small area of material loss, while the black felt field and yellow ties otherwise remain largely intact.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1950-1960
Frame Size (H x L): 35" x 42”
Flag Size (H x L): 24” x 31”
Offered is a forty-four star flag made of cotton. The stars on this flag are arranged in a medallion pattern, one of the most beautiful and desirable patterns in the hobby. This particular medallion has a center star that is surrounded by three concentric rings of stars. The three rings are then surrounded by four flanking corner stars.
Medallion pattern flags date to at least as early as the twenty-six star flag, and at least as late as the forty-eight star flag. The majority of medallion pattern flags, however, date to between 1861 and 1876. During this period, many flag makers would include a center star, surround it with one or more wreaths of stars, and then surround the wreaths with flanking stars (i.e., corner stars). Beginning in the 1890s, the beautiful medallion patterns became less common, and linear arrangements became the norm. Why this occurred is unclear, as flag makers had the freedom to place the stars however they liked until 1912, when President Taft issued Executive Order 1556 establishing the arrangement of the stars into rectilinear rows.
The forty-four star flag represents the inclusion of Wyoming to the Union. Wyoming was admitted on July 10th, 1890, and this flag became official on July 4th, 1891. Presidents Benjamin Harrison and Grover Cleveland served under this flag.
In 1889, Congress considered adding the Dakota Territory as a single state. What happened, however, was that the Dakota Territory was split it into two states: North Dakota and South Dakota, and they were both admitted on November 2nd, 1889. Soon thereafter, on November 8th, 1889, Montana was admitted as the forty-first state, and on November 11th, 1889, Washington was admitted as the forty-second. When Congress went on break, flag makers began producing anticipatory forty-two star flags for the following July 4th, 1890.
To the surprise of many, on July 3rd, 1890—just one day before the forty-two star flag was going to be official—Congress admitted Idaho as the forty-third state. As a result, the forty-two star flag never became official, but the forty-three star did. Just a few days later, on July 10th, 1890, Congress admitted Wyoming as the forty-fourth state. As a result of this rapid succession of state admissions, flag makers made large quantities of unofficial forty-two star flags and official forty-four star flags, but hardly any forty-three star flags (despite it being an official star count).
The forty-four star flag is relatively rare when compared to, for example, the forty-five star flag, as a result of it being used after the Centennial, but before the Spanish American War. The forty-four star flag was the official flag for five years up until July 4th, 1896, the time at which the forty-five star flag became official and began to represent the inclusion of Utah in the Union.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: Housed in a wide, black-painted molded frame with a deep cove profile and stepped inner and outer edges. Subtle reddish-brown undertones in the grooves give the frame warmth and an antique-style character while maintaining a clean, formal presentation.
Condition Report: The flag presents well overall, with strong color and a legible medallion star pattern. There is age-appropriate toning and surface soiling throughout, most visible in the white stripes, along with several scattered brown stains, including examples near the upper fly, upper center, and lower hoist.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1890-1896
Number of Stars: 44
Associated War: The Indian Wars (1860-1890)
Associated State: Wyoming
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 33” x 44”
Flag Size (H x L): 22” x 33”
Offered is a 34-star American national flag, printed on glazed cotton and dating to the opening years of the Civil War, between 1861 and 1863.
The configuration of stars on this example is particularly noteworthy. At the center rests a single oversized star, representing Kansas, the newest state in the Union. Surrounding it is an inner wreath of eleven smaller stars, while an outer ring of eighteen stars completes the medallion configuration. Four medium-sized stars flank the design near the corners of the canton. The stars are canted in varying directions and exhibit irregular, folk-oriented geometry, lending the canton a visually animated quality.
The design possesses the sort of visual energy collectors seek in early American textiles. Rather than rigid uniformity, one finds subtle inconsistencies in star shape, orientation, and spacing that reflect the handmade aesthetic sensibilities still present in American flag production during the mid-nineteenth century. The oversized center star anchors the composition, while the rotating orientations of the surrounding stars create movement throughout the canton. We have handled many 34-star flags over the years, including numerous medallion examples, yet we have never encountered another precisely of this style. In our view, this strongly suggests a very scarce, and perhaps singular, surviving variety.
The coloration is equally appealing. The blue canton displays a strong Civil War-period blue, while the red stripes retain a warm tone characteristic of early printed pigments on glazed cotton. The surface exhibits the subtle sheen associated with glazed cotton construction, a finishing process frequently employed on mid-nineteenth century parade flags to provide visual crispness and modest resistance to dirt and moisture. The glazing remains visible across portions of the surface and contributes to the flag’s period character.
The flag survives in what is arguably the ideal scale for a Civil War-era parade flag: large enough to display boldly, yet small enough to have been intended for true patriotic use by a private citizen. Even among surviving Civil War flags, examples of this size are especially desirable.
The 34-star flag represents the admission of Kansas as the 34th state on January 29th, 1861. The official addition of the star occurred on July 4th of the same year, just months after the inauguration of Abraham Lincoln and only weeks after the outbreak of the Civil War. Because flag makers commonly anticipated official star counts, many 34-star flags were produced immediately upon Kansas statehood, prior even to the firing on Fort Sumter. The 34-star flag remained official until July 4th, 1863, when the 35-star flag entered service following the admission of West Virginia.
Among the most important and collectible of all nineteenth century American flags are 34-star and 35-star examples, which represent the primary star counts under which the Civil War was fought. Lincoln served almost his entire presidency beneath the 34-star flag, and the vast majority of the conflict’s defining events—from First Bull Run through Gettysburg—occurred while this count remained official. Flags from this era are especially coveted because patriotic display by private citizens prior to the Civil War was comparatively uncommon. Before 1861, the American flag was used principally for military and maritime identification, and most surviving examples from the antebellum era were massive garrison or ship flags intended for visibility at great distances. The explosion in small printed parade flags arose primarily from the emotional and political fervor surrounding the Civil War itself. As a result, authentic surviving parade flags of the period are both rare and historically important.
What elevates this flag further, however, is the remarkable handwritten note that accompanies it. Written on letterhead from the Commonwealth Bank of Baltimore, located at Howard and Madison Streets, the note reads:
“This flag at half mast was hung from the window of the Herring home in Baltimore when Lincoln was buried. Though Democrats they were compelled to do so.”
The significance of this statement is difficult to overstate. In nearly two decades handling and studying antique American flags, we have encountered very few notes of this nature, and none carrying quite this degree of political candor. The wording is concise and direct. Most importantly, it contains precisely the sort of socially revealing commentary one would expect from a genuine family or community remembrance rather than a later embellished story.
The phrase “Though Democrats they were compelled to do so” provides a glimpse into the divided political atmosphere that existed in Maryland during the Civil War and immediately following Lincoln’s assassination. Maryland occupied a uniquely fragile position during the conflict. Though it remained in the Union, the state contained substantial Southern sympathies, particularly among Democrats and conservative urban residents of Baltimore. Union troops had occupied Baltimore early in the war following violent unrest in 1861, and political tensions remained severe throughout the conflict.
When Lincoln was assassinated in April of 1865, the nation entered a period of public mourning. As Lincoln’s funeral train made its journey from Washington toward Springfield, Illinois, cities throughout the North and border states staged mourning observances. Buildings were draped in black crepe, church bells tolled, and flags appeared throughout urban streetscapes in public displays of grief and national unity. Baltimore, despite its divided loyalties, participated heavily in these ceremonies.
Within this context, the note becomes especially compelling. The implication is that the Herring family—identified by the writer as Democrats—displayed the flag publicly despite political sympathies that may not have aligned fully with Lincoln or the Union cause. Whether motivated by civic pressure, social expectation, fear of scrutiny, genuine mourning, or some combination thereof, the act was apparently memorable enough to be recorded decades later in handwritten form. The note preserves a revealing moment: a politically divided household navigating public expectation in one of the most emotionally charged weeks in American history.
Particularly interesting is the phrase “compelled to do so.” Such wording suggests that the display was perceived not merely as patriotic decoration, but as an act carrying political and social consequence. We have encountered Civil War flags accompanied by family stories, but never one whose associated documentation speaks so openly about political tension and reluctant public patriotism. It transforms the flag from a Civil War textile into a tangible artifact connected to the complexity surrounding Lincoln’s death and the Union victory.
Research into the Commonwealth Bank of Baltimore reveals that it was an established Baltimore institution operating by at least the 1890s, with its substantial building at Howard and Madison Streets constructed in the mid-1890s. The handwritten note, therefore, almost certainly dates to the late nineteenth or early twentieth century, placing it relatively close to the events it describes and well within the range of living memory.
An additional note accompanied the flag when acquired from Brendan Synnamon, owner of The Union Drummer Boy in Gettysburg, one of the nation’s best Civil War artifact galleries. Brendan is widely respected within the field of Civil War material culture and has spent decades handling, authenticating, and researching important artifacts related to the conflict. In addition to his work as a dealer, lecturer, and preservation advocate, Brendan has also served as an appraiser for the Antiques Roadshow. Brendan acquired the flag from the estate of longtime collector Stan Smullen, who reportedly purchased it directly from the Herring family estate.
The Herring family itself holds noteworthy historical and literary associations tied to Edgar Allan Poe. Henry Herring, a prominent Baltimore lumber dealer and the husband of Poe’s aunt, Elizabeth Poe Herring, maintained a household that Poe is known to have visited during his time in Baltimore. Historical accounts further record that Herring participated in the arrangements surrounding Poe’s death and burial in 1849, reportedly providing the coffin used for the funeral and assisting with related matters. The association with both the Herring family and the events surrounding Lincoln’s funeral procession through Baltimore adds another layer of historical interest to an already remarkable Civil War-era flag.
Regardless, the accompanying documentation remains exceptional. It is exceedingly rare to encounter a Civil War-period parade flag accompanied by a politically charged written remembrance tied specifically to the mourning ceremonies surrounding Lincoln’s assassination and funeral procession. Combined with the flag’s striking and apparently unique medallion configuration, attractive coloration, and association with one of the defining moments in American history, this example stands among the most interesting 34-star parade flags we have encountered.
Conservation Process: This flag was professionally conserved and restored. It is sewn to silk and positioned behind Optium Museum Acrylic.
Frame: The flag is presented within a hardwood frame finished in matte black with visible grain.
Condition Report: The flag was professionally conserved and restored. There is moderate to significant fading and oxidation throughout, accompanied by scattered soiling, areas of pigment loss, and restoration to the striped field, particularly within the white stripes toward the fly end. Despite this, the flag presents beautifully, with strong overall color, an especially attractive blue canton, and excellent visual impact. The unusual medallion configuration and the extraordinary accompanying note more than justify the conservation work undertaken to preserve this rare Civil War-era survivor.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1861-1863
Number of Stars: 34
Associated War: The Civil War (1861-1865)
Associated State: Kansas
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 33.25” x 48”
Flag Size (H x L): 22.25” x 37”
Offered is a rare and highly desirable 31-star American parade flag, printed on glazed cotton and dating to the period between 1851 and 1858, during the official use of the 31-star count. Flags of this era are among the rarest and most coveted of all surviving American flags, both because they predate the Civil War and because the use of the national flag in everyday American life was still comparatively limited. Prior to the outbreak of the Civil War in 1861, Americans did not commonly display the Stars & Stripes for general patriotic decoration in the way that later generations would. The widespread civilian use of the American flag is largely a post-Civil War phenomenon, fueled by wartime nationalism, veterans’ organizations, political campaigning, public schools, and the country’s growing industrial ability to mass-produce patriotic textiles. As a result, flags made before the Civil War survive in extraordinarily small numbers relative to those produced afterward. Among 19th century flags as a whole, pre-Civil War examples comprise only a tiny fraction of surviving material.
This example is particularly compelling for both its visual impact and its unusually attractive star arrangement. The stars are configured in a striking medallion pattern that consists of a large center star, surrounded by two concentric wreaths of smaller stars, with a single flanking star positioned in each corner of the canton. Medallion patterns are among the most sought-after of all 19th century arrangements, prized for their balance, folk quality, and strong graphic presentation. While linear configurations would eventually become standardized in the 20th century, 19th century flag makers enjoyed considerable freedom in arranging stars, resulting in an extraordinary range of whimsical and artistic patterns. Medallions are widely considered among the most beautiful of these arrangements and are especially associated with mid-19th century American parade flags.
The oversized center star is especially significant. Sometimes referred to as a “center star,” this feature differs from what collectors commonly call a “Great Star” or “Great Luminary” configuration. In a Great Star arrangement, the smaller stars collectively form the shape of one large star. In a center star design such as this one, however, the large star occupies the middle of the canton independently, while the surrounding stars radiate outward around it in concentric fashion. In many examples of this type, the center star was intended to represent the newest state admitted to the Union. In the case of a 31-star flag, that state was California.
Particularly noteworthy is the construction of the center star itself. Rather than consisting solely of a single bold outline, it includes a secondary outer border that creates a luminous “halo” effect around the star. Haloed stars are among the most visually dynamic elements found on printed parade flags of the period and are strongly associated with a small and distinctive family of mid-19th century printed flags. The exact maker of these haloed flags remains unidentified, yet surviving examples reveal enough similarities in execution, scale, printing style, and artistic treatment to strongly suggest common manufacture. Comparable haloed examples are known in 30-star, 31-star, 34-star, 35-star, 36-star, and 42-star counts, among others, forming one of the more recognizable and beloved groups within early printed American flags.
This flag belongs to a particularly early generation of printed parade flags. The earliest known printed American parade flags date to the late 1830s and early 1840s, shortly after advances in textile printing technology made such production commercially viable. Twenty-six star examples, representing Michigan statehood, are generally regarded as the earliest surviving printed parade flags, dating between approximately 1837 and 1845. This 31-star example was therefore produced only a relatively short time later, placing it very near the beginning of printed flag production in the United States. Surviving examples from this formative period are scarce in all star counts, and especially so in counts preceding the Civil War.
The coloration of the stripes is especially attractive. Rather than displaying the deep saturated red commonly associated with later flags, the stripes exhibit a warm orange-red hue that is characteristic of many mid-19th century textiles. This coloration is generally attributed to the use of natural dyes such as madder and cochineal, both of which were widely employed during the period before the later standardization of synthetic aniline dyes. Over time, these pigments often mellow into softer tones ranging from salmon to burnt orange, lending early American flags a distinctive warmth that collectors find especially appealing. The canton likewise displays a beautiful dusty blue coloration that differs markedly from the darker navy tones seen on later examples. Because official standards governing the precise shades of red and blue had not yet been firmly established, considerable variation existed among textile makers during the mid-19th century, contributing to the highly individual character of flags from this era.
California’s admission to the Union—and the resulting creation of the 31-star flag—occurred during one of the most transformative moments in American history. The discovery of gold at Sutter’s Mill in 1848 triggered the California Gold Rush, one of the largest mass migrations in world history. Tens of thousands of fortune seekers from across the United States and abroad flooded into the territory with astonishing speed. Between 1848 and 1850, California’s non-native population exploded, creating urgent pressure for civil government and eventual statehood. Unlike many western territories that spent years or decades under territorial administration before entering the Union, California moved toward statehood with remarkable rapidity.
The question of California’s admission also became deeply entangled in the sectional tensions surrounding slavery in the years leading to the Civil War. As the nation expanded westward following the Mexican-American War, fierce political debate erupted over whether new territories would permit slavery. California sought admission as a free state, upsetting the delicate balance between free and slave states in Congress. Its admission ultimately formed a central component of the Compromise of 1850, the complex legislative package engineered primarily by Henry Clay in an effort to preserve the Union. Signed into law in September of that year, the compromise temporarily eased sectional conflict while simultaneously revealing just how fragile the national political balance had become.
California officially entered the Union on September 9th, 1850, as the 31st state. In accordance with the Third Flag Act of 1818, however, new stars were not officially added to the American flag until the following Independence Day. Thus, the 31-star flag became official on July 4th, 1851. It remained the official national flag until July 3rd, 1858, after which the 32-star count replaced it following the admission of Minnesota. The official lifespan of the 31-star flag therefore spanned just seven years, encompassing a period of extraordinary expansion, political volatility, western migration, and accelerating national change immediately preceding the Civil War.
An interesting aspect of this particular example is its provenance, as the flag at one point belonged specifically to Robert Endres, from whose family it was acquired. Endres played football at Ohio State University, serving as an offensive tackle for the Buckeyes during the mid-20th century. Contemporary coverage described him as a dependable mainstay on the offensive line, following two years of junior varsity play before advancing to the varsity squad in his senior year. While unrelated to the flag’s original period of manufacture, the association adds an appealing layer of Americana, linking this mid-19th century national textile to a later tradition of American collegiate athletics.
Because relatively few flags were made during this era—and because even fewer survived the passage of more than 170 years—authentic 31-star parade flags rank among the rarest and most desirable of all 19th century American flags. Examples featuring highly graphic medallion arrangements, especially those with haloed center stars and strong folk characteristics, occupy an especially important place within advanced collections of early American textiles and political 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: This offering is in our Large Distressed Black and Gold Frame.
Condition Report: The flag displays moderate to modest wear consistent with its age and use, including scattered soiling, minor foxing, and areas of pigment loss and fading throughout. There is light fraying and minor loss along the fly end and hoist, accompanied by a few tiny holes and small areas of fabric separation. The glazed cotton has mellowed beautifully over time, resulting in especially attractive coloration in both the dusty blue canton and the warm orange-red stripes. Overall, the flag presents exceptionally well and retains outstanding visual impact, particularly in the dramatic haloed medallion configuration.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1850-1858
Number of Stars: 31
Associated State: California
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 36” x 36”
Flag Size (H x L): 25” x 25”
Offered is a rare and important printed cotton campaign flag, produced for the 1844 presidential election of Henry Clay and his running mate, Theodore Frelinghuysen. Executed in red, white, and blue on a single length of cotton, the design combines portraiture, national symbolism, and political messaging within a unified and highly deliberate composition. At the hoist, within a square canton, a circular medallion encloses a portrait of Clay, surrounded by a wreath of 26 stars. Extending across the striped field are the words “CLAY | AND | FRELINGHUYSEN.” The result is a cohesive graphic arrangement in which image and text are structurally integrated into the format of the American flag.
The canton functions as a formal portrait device, with Clay’s likeness rendered in a sepia-toned print derived from an engraved source and adapted for textile production. The surrounding stars form a continuous ring, both framing the portrait and reinforcing the national context of the campaign. The stripes are boldly rendered and evenly spaced, providing a strong horizontal counterbalance to the centralized portrait. The typography is clear and assertive, occupying three lines across the field in a manner that is both legible and visually balanced. Unlike later parade flags, where printed slogans are often secondary additions, the text here is integral to the design from inception.
The flag is printed on cotton, likely by means of block or early roller printing techniques. As is typical of mid-19th century textile production, minor irregularities in ink saturation and distribution are present, contributing to the hand-produced character of the piece. The pigments have mellowed over time in a manner consistent with early dyes, with the canton presenting as a deep, dark tone and the red stripes retaining strong visual presence.
The near-square proportions—approximately in keeping with known examples of the type—are a defining characteristic of early flags of this period. Unlike later, more standardized parade flags, which tend to adopt elongated rectangular formats, these earlier examples often reflect the proportions of military and presentation standards of the late 18th and early 19th centuries. The format enhances the visual impact of the design, allowing the portrait medallion and surrounding elements to occupy a central and commanding position.
The 1844 presidential campaign in which this flag was produced stands as a pivotal moment in American political history. Henry Clay, the Whig candidate, was one of the most influential statesmen of the first half of the 19th century, having served as Speaker of the House, U.S. Senator, and Secretary of State. A principal architect of what became known as the “American System,” Clay advocated for a program of economic development centered on protective tariffs, a national banking system, and federal support for internal improvements such as roads and canals. His running mate, Theodore Frelinghuysen of New Jersey, was a prominent lawyer, senator, and later president of Rutgers College, known for his moral reform positions and national visibility within the Whig Party.
Opposing Clay was Democrat James K. Polk, whose campaign emphasized territorial expansion, including the annexation of Texas and the acquisition of Oregon. While Clay’s platform reflected a vision of structured economic growth and national cohesion, Polk’s expansionist message ultimately resonated more strongly with voters, and he prevailed in the election. Textiles associated with the Clay campaign, including flags such as the present example, represent a sophisticated and early use of visual media in American political life, bridging the gap between printed campaign ephemera and later mass-produced patriotic objects.
Flags of this type occupy a narrow and important window in the evolution of American flag production. The 26-star count corresponds to the admission of Michigan as the 26th state on January 26th, 1837. Under the flag acts of the period, new stars were officially added on the following July 4th, making the 26-star flag the official national flag from July 4th, 1837 through July 3rd, 1845. This eight-year span encompasses some of the earliest known examples of printed American flags made for political purposes. While earlier campaign textiles exist, including banners from the 1840 campaign of William Henry Harrison, the Clay and Frelinghuysen examples of 1844 remain among the earliest surviving instances in which the American flag format was adapted so directly and effectively for political messaging.
The present design is documented in Herbert Ridgeway Collins’ Threads of History: Americana Recorded on Cloth, 1775 to the Present (Smithsonian Press, 1979), where it appears as example number 179. Collins classifies it as a “flag banner,” noting its cotton construction, near-square proportions, and the presence of the Clay portrait within a ring of 26 stars. The inclusion of this pattern in a foundational institutional reference underscores its importance within the canon of American textile history and provides a firm basis for identification and dating.
Additional institutional examples further support the significance of this design. An identical Clay and Frelinghuysen campaign flag is held within the collections of Rutgers University, directly connecting the object to Frelinghuysen’s later role as president of that institution. Such examples reinforce both the historical grounding of the type and its recognition within academic and museum contexts. Surviving flags of this variety are limited in number.
What distinguishes this flag, beyond its historical context, is the strength and clarity of its graphic presentation. The balance between image and typography is particularly successful, creating a composition that is both visually engaging and immediately understandable. The scale is also highly desirable—large enough to command attention in display, yet manageable within a framed presentation.
Campaign flags from the pre-Civil War era are widely regarded among collectors as some of the most compelling forms of American patriotic textile, combining rarity, historical importance, and strong visual design. Within this category, portrait examples such as the present flag are especially sought after, due to the added dimension of figural imagery and the direct association with prominent political figures.
Conservation Process: The flag 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 flag is displayed behind Optium Museum Acrylic.
Frame: This offering is in our Large Distressed Black and Gold Frame.
Condition Report: There is moderate to significant foxing and staining throughout, most evident in the striped field and along the lower portion, accompanied by areas of pigment loss and uneven toning consistent with age. The canton has darkened, and there is scattered discoloration within the portrait area, along with minor edge wear and small areas of fabric loss. Despite these characteristics, the imagery remains clear and the text fully legible, with strong overall visual presentation.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1844
Number of Stars: 26
Associated State: Michigan
Frame Size (H x L): 32” x 37.75”
Broadside Size (H x L): 21” x 26.75”
Offered is a Civil War–period advertising broadside for the Philadelphia Daily and Weekly Journal, printed in red and blue and designed in the form of an American flag. Produced in Philadelphia, Pennsylvania, circa 1861–1862, the sheet promotes the newspaper published by Carr & Elliott, whose office was located at No. 108 South Third Street. Combining patriotic imagery with commercial promotion, the broadside reflects the powerful role newspapers played in shaping public sentiment during the opening years of the American Civil War.
The broadside is printed on a single sheet and arranged as a stylized American flag. Across the upper portion appears the title “PHILADELPHIA DAILY AND WEEKLY JOURNAL.” Beneath this heading the design transitions into the striped field of the flag, printed in bold red bands. Running diagonally across the stripes in large block lettering is the emphatic slogan “OUR UNION FOREVER.” At the bottom of the sheet appears the imprint identifying the newspaper’s location and subscription terms: “OFFICE, No. 108 SOUTH THIRD STREET.” The cost of the publication is also clearly stated: “Daily, 2 Cents per Copy. Weekly, $1 per Annum.” These details underscore the dual purpose of the sheet as both patriotic display and newspaper advertisement.
The canton occupies the upper left portion of the design and contains one of the most visually compelling elements of the broadside. Within the blue field appears a portrait of George Washington, framed within the outline of a large star. Washington’s likeness is rendered in a circular medallion at the center of the device, surrounded by radiating lines that draw attention to the image. Around the portrait appears the text “PHILADA EVENING JOURNAL” and “CARR & ELLIOTT PUBLISHES,” directly associating the revered figure of the nation’s founding with the newspaper being advertised. The use of Washington in this context is deliberate and symbolic. During the Civil War, Washington’s image served as a reminder of the founding of the United States and of the struggle to preserve the Union he helped create.
Within the large star that frames the portrait are 34 smaller stars, representing the official 34-star count of the United States flag. The 34-star flag corresponds to the admission of Kansas as the 34th state on January 29, 1861. This star count became the official national flag on July 4, 1861 and remained in effect until July 3, 1863. In this design, the smaller stars are arranged within the outline of the larger star, which functions as a decorative framing device rather than an additional star in the count. The arrangement creates a visually striking canton while preserving the historically accurate star count associated with the early war period.
The newspaper promoted by the broadside was published by Carr & Elliott, a Philadelphia partnership active during the early years of the Civil War. Their paper, the Philadelphia Evening Journal, was part of a vibrant and competitive newspaper culture in the city. Philadelphia was one of the most important publishing centers in the United States during the nineteenth century, and its newspapers played a central role in shaping public opinion. Papers such as the Philadelphia Evening Journal provided daily coverage of the war while simultaneously promoting strong Unionist sentiment among readers.
The address listed on the broadside—108 South Third Street—places the newspaper within the historic commercial district of Philadelphia, only a short distance from Independence Hall and other landmarks associated with the founding of the United States. During the mid-nineteenth century this area was home to numerous printers, publishers, and booksellers. The location situates Carr & Elliott within the long-standing printing and publishing tradition of the city.
The slogan “OUR UNION FOREVER” is one of the most significant elements of the design. Appearing boldly across the stripes of the flag, the phrase encapsulates the central political and emotional message of the Union cause during the American Civil War. In the months following the outbreak of hostilities in 1861, Northern printers, publishers, and artists produced a wide range of patriotic imagery emphasizing the preservation of the United States. Slogans invoking the permanence of the Union were especially common, serving both as expressions of loyalty and as tools for rallying public support for the war effort. By integrating this phrase directly into the flag design, the broadside transforms the newspaper advertisement into a statement of national unity and resolve.
The visual strategy employed here reflects a broader pattern in Civil War graphic culture. Printers frequently combined patriotic imagery with commercial or informational content, creating designs that were both decorative and persuasive. In this example, the American flag serves as the organizing structure for the entire composition, while the slogan, portrait, and newspaper information are integrated seamlessly into the design. The result is a piece that would have functioned effectively both as an advertisement and as a patriotic display suitable for posting in a public space.
Institutional records place the broadside within the broader category of Civil War printed ephemera. An example is documented in the collection of the Library Company of Philadelphia, one of the nation’s most important repositories for early American printing and Civil War graphics. The recorded example was originally preserved in a Civil War scrapbook compiled by John A. McAllister, whose extensive collection of wartime prints and ephemera forms an important historical archive of the period.
Broadsides of this type occupy an important place in the history of American printing. Unlike bound publications, broadsides were typically produced for immediate display or distribution and were often discarded once their immediate purpose had passed. Surviving examples therefore provide valuable insight into the visual and political culture of their time. This example is especially notable for its strong graphic design, its integration of patriotic symbolism with newspaper advertising, and its clear association with the early years of the Civil War.
Taken together, the elements of the design—the American flag format, the 34-star canton, the portrait of Washington, and the bold proclamation “OUR UNION FOREVER”—create a powerful visual statement reflecting the atmosphere of the Union states during the opening phase of the Civil War. At the same time, the inclusion of the newspaper’s name, address, and subscription terms reminds us that this striking patriotic image also served a practical purpose: promoting the circulation of a Philadelphia newspaper during one of the most consequential periods in American history.
Frame: The frame is a deep-profile moulding with a simple, classical profile, finished in a dark cocoa-brown tone.
Condition: The broadside has been professionally conserved by a paper conservator and presents well overall. The sheet shows a vertical center fold, with additional light handling creases consistent with age and original distribution. There is minor scattered toning and a few small areas of edge wear, along with subtle surface irregularities typical of nineteenth-century paper broadsides. Overall, the colors remain strong and the piece displays attractively.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1861-1862
Frame Size (H x L): 26” x 39.75”
Lithograph Size (H x L): 16” x 29.75”
Offered is a die-cut, lithographed theatrical advertisement for the 1930 Western serial The Indians Are Coming, produced by Adventure Pictures and starring Col. Tim McCoy and Allene Ray. Intended for lobby or storefront display, the piece departs from the standard rectangular poster format and is cut in the silhouette of a feathered war bonnet, immediately identifying its Western theme to passing audiences. Strong color contrast, bold typography, and mounted warrior imagery were used to attract attention in a competitive theater setting.
Adventure Pictures was an independent American motion picture company active during the late silent and early sound era. By 1930, the serial format was an established commercial model. Instead of a single feature-length film, studios released productions in multiple short chapters, typically fifteen to twenty minutes in duration, issued weekly. Each chapter concluded with a cliffhanger, encouraging audiences to return. During the early years of the Great Depression, this structure helped stabilize attendance by promoting repeat visits. Independent companies such as Adventure Pictures relied heavily on Western and action-driven narratives, which were economical to produce and broadly marketable.
The Indians Are Coming was released in 1930 as a 12-chapter Western serial. Directed by Henry MacRae and filmed in California, it was distributed nationally through regional exchanges. The narrative centers on frontier conflict between settlers and Native American tribes, framed within the conventions of early twentieth-century Western cinema. The emphasis was action: horseback pursuit, ambush, siege, and rescue, structured in episodic progression. The title itself functioned as a marketing device, signaling danger and conflict rather than documentary history. The prominently printed “12 Chapters” designation advertised the serialized structure that formed the economic foundation of the production.
Colonel Tim McCoy (1891–1978) was an established Western film actor of the late silent and early sound period. Before entering films in the mid-1920s, he worked with Native American tribes and later served as a technical advisor in motion pictures involving Indigenous themes. His screen persona emphasized horsemanship and frontier authority. By 1930, he was a dependable lead capable of carrying multi-chapter productions such as this one. The honorary “Colonel” designation became part of his public identity and appeared consistently in promotional materials.
Allene Ray (1901–1979) was a serial and B-Western actress active during the same period. She frequently portrayed heroines placed in peril within episodic narratives, roles essential to sustaining suspense across weekly installments. Her billing alongside McCoy reflects the importance of recognizable co-stars in maintaining audience engagement throughout a serialized release.
The advertisement was printed on heavy stock paper using commercial color lithography. Multiple ink applications produce saturated reds, yellows, and blacks, with strong linework defining the feather shafts and mounted figures. The red feather tips and red title lettering reinforce themes of urgency and action, while the yellow ground ensures legibility from a distance. Black outlines unify the composition and provide clarity. The die-cut feathered crest gives the advertisement a dimensional presence distinct from a standard flat placard.
Flanking the title are mounted warrior figures, reinforcing themes of speed and confrontation. Horses functioned as visual shorthand in Western cinema, symbolizing mobility and frontier conflict. The war bonnet silhouette operates as a broad cultural signifier, designed for immediate recognition in popular advertising rather than ethnographic specificity. Such imagery was widely employed in early twentieth-century promotional material to evoke the mythologized American West.
The tagline, “Packed with Action – Wild Redskins and Fighting Pioneers,” reflects the marketing language common to 1930 Western promotion. Its phrasing emphasizes spectacle and simplifies frontier narratives into oppositional archetypes intended to heighten dramatic tension. From a historical standpoint, the language illustrates how early Western serials commercialized frontier themes for mass entertainment during the interwar period. The terminology belongs to the conventions of its time and underscores the action-driven tone expected of serial advertising.
Issued in 1930 at a transitional moment in American film history, this piece reflects the continued viability of the serial format during the industry’s shift to synchronized sound. Independent Western serials remained commercially important even as production technology evolved. Graphic lobby displays such as this were central to exhibition strategy, designed to attract attention and convert interest into ticket sales. As an object, it represents both a specific film production and the broader mechanics of serialized storytelling in early American cinema.
Frame: Housed in a new custom wood frame with a visible grain and black finish. The profile is flat and straightforward, providing a clean presentation. The dark tone creates strong contrast with the artwork.
Condition: The piece shows expected age-related wear, including scattered creasing, light surface wrinkles, and minor edge wear consistent with original theatrical use. Visible fold lines and small areas of paper separation along portions of the die-cut edges remain evident. The work has been stabilized by a professional paper conservator, with appropriate archival treatment undertaken to secure structural integrity while preserving original surface characteristics. Color remains strong and the printed graphics are clear overall.
Collectability Level: The Good – Perfect for Beginners and Gifts
Date of Origin: 1930
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 32” x 41”
Flag Size (H x L): 21” x 30”
Offered is a thirty-six star parade flag, which is unquestionably one of our favorite offerings to date. The stripes of this flag are made of individual strips of red and white silk, the canton is made of three strips of blue silk, and the hoist is made of a strip of white silk. Each star is hand embroidered, fourteen of which are embroidered with gold string and twenty-two of which are embroidered with white string. Each star includes five split petals and a center portion. The entire flag is hand sewn with gorgeous, precision-like stitches.
The inclusion of both gold and white stars is a trait that we had never previously encountered before discovering this flag. This contrast may be an indication that this flag was made with whatever materials were available to the maker. This is likely the case, given that this flag was made during the Civil War. Alternatively, the inclusion of gold and white stars may have some kind of symbolism. For example, the maker may have intended that the white stars represent the Northern States, while the gold stars represent the eleven Southern States plus three additional states that the maker viewed as having southern sympathies. Regardless of the reason for having both gold and white stars, this is an extremely rare feature.
This flag is small in size for a piece-and-sewn flag, dating to the Civil War. This adds considerably to its appeal, as it can be easily displayed. It was not until the Civil War that small piece-and-sewn flags were made with any frequency at all, and not until the 1890s that they were made with regularity. During most of the 19th century, flags made with piece-and-sewn construction had a width of at least eight feet, as they were typically used as signaling devices for the military or by sailors. Even the flags that were used for decorative purposes usually had a width of six feet or more, and versions smaller than this were quite rare.
This flag is not made of weighted silk, unlike many of its Civil War era counterparts. Silk was originally sold by length and width, but in the early 19th century, it was sold by the pound. For this reason, many silk manufacturers began dipping and weighting their silk with mineral salts. And while this increased profits, mineral salts slowly damage silk and many significant antique flags have thus been lost as a result of this practice. Fortunately, this flag was not made of weighted silk, hence its good condition for its age and construction.
The stars on this flag are arranged in a "Great Star" pattern, one of the rarest and most beautiful patterns encountered in antique flags. The Great Star pattern is a large star made of smaller stars. The smaller stars may be a variety of sizes, and may be canted in a various directions. Such a pattern was perfectly acceptable, as prior to President Taft's Executive Order 1556 in 1912, flag makers were free to place the stars however they wished.
US Naval Captain Samuel Reid is credited with designing the Great Star pattern in 1818. Captain Reid was an officer in the US Navy and commanded the privateer General Armstrong during the War of 1812. Andrew Jackson credited Captain Reid's heroism in delaying the British Squadron in the Battle of Fayal, and aiding in General Jackson's defense of New Orleans. Captain Reid and his crew were greeted as heroes.
The Second Flag Act, passed in 1794, stated that the flag would have fifteen stars and fifteen stripes, in response to Vermont and Kentucky being added to the Union. Knowing that this approach would not be sustainable, with Captain Reid's help, Congress passed the Flag Act of 1818, specifying that the flag should only have thirteen stripes, but should have a star for each state admitted to the Union. It further specified that the addition of each star should be on the Fourth of July following its respective state's admission.
Captain Reid played a significant role in the Flag Act of 1818, and recommended a basic design of thirteen horizontal alternating stripes in honor of the thirteen colonies, and a star in honor of each state. He further recommended several potential star patterns, including twenty stars in the shape of a larger star for general use. Reid suggested this pattern to make the flag consistent and easily identifiable, particularly at long distances and at sea. His star pattern recommendation was not ultimately included in the Act, nor was any star pattern, but Captain Reid is universally credited with designing the Great Star pattern. Its use peaked in the 1840s, but it was also used during the Civil War and occasionally during Centennial Celebrations. Its last known commercial use was on a thirty-eight star flag.
The thirty-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. Ultimately, 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 professionally conserved. It is sewn to silk and positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).
Frame: This offering is in our Large Distressed Black and Gold Frame.
Condition Report: This flag exhibits a few minor tears, most notably along the top of the hoist and along the top of the red stripe along the hoist. It does have some minor stains, as shown in the pictures. Despite these flaws, this flag is a true survivor and one of the best Civil War flags to ever surface.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1864-1867
Number of Stars: 36
Associated War: Civil War (1861-1865)
Associated State: Nevada
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): 28” x 40”
Flag Size (H x L): 17” x 28.75”
Offered is an early 20th-century French tricolor flag, executed in a bold and visually compelling format, with the blue, white, and red fields rendered in felt. The use of felt—rather than woven wool bunting—produces a soft surface texture and saturated coloration that differs markedly from standard maritime or government-issue examples, indicating a decorative or ceremonial purpose rather than long-term outdoor hoisting.
The hoist is constructed of sturdy cotton twill and fitted with brass grommets, with all elements machine sewn, consistent with professional American commercial manufacture of the period. The hoist bears stenciled dimensional and country identification reading “18 × 30 FRANCE,” indicating the flag’s approximate size in inches, a practical marking commonly used for institutional supply. Affixed alongside is a sewn maker’s label identifying Samuel Mortensen & Co., Chicago, U.S.A., described as manufacturers of Original College Goods and Fine Textile Advertising Specialties. Original labels of this nature are uncommon and provide direct, primary documentation of origin.
Samuel Mortensen & Co. is documented in university advertising by at least 1910 and appears as an active business in the 1912 Lakeside Annual Directory of the City of Chicago. The firm specialized in felt and textile goods produced for schools, colleges, and other formal institutions, including flags, banners, and pennants.
The French tricolor—blue, white, and red—has served as the national flag of France since the late 18th century, its origins rooted in the French Revolution. The colors combine those of Paris (blue and red) with white, long associated with the French monarchy, symbolizing national unity and the revolutionary ideals of liberty, equality, and fraternity. Officially adopted in 1794, the tricolor has endured through successive political regimes and remains one of the most recognizable national flags in the world.
By the late 19th and early 20th centuries, the French flag had assumed broader international significance, particularly within educational and institutional settings outside of France. In the United States, foreign national flags were frequently displayed in schools, universities, civic buildings, armories, and fraternal halls as tools for instruction, cultural awareness, and the visual expression of diplomatic relationships. This practice intensified during periods of increased global engagement, including the years surrounding World War I, when France held a central role as a major ally and symbol of republican governance.
Although French national flags were produced both domestically and abroad, this example reflects American manufacture intended for educational, civic, or patriotic display rather than official government issue. Based on the documented activity of the maker, the label format, felt construction, machine sewing, cotton twill hoist, and brass grommets, this flag can be confidently dated to the 1910s, extending conservatively into the early 1920s. The survival of the original maker’s label materially strengthens the historical context and distinguishes this example from otherwise similar but undocumented tricolors.
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: A square-profile molding with a deep, charcoal-toned surface that mimics the look of hand-grained wood. Subtle linear patterning adds quiet texture and depth, while the finish maintains a restrained sophistication suitable for both period and modern interiors.
Condition Report: Condition is very good overall, with the felt fields retaining strong color and a pleasing, even surface. The white center panel shows expected age toning with scattered, light soiling, while the red field exhibits a few tiny dark specks consistent with age. The cotton twill hoist shows minor wrinkling and light discoloration near the grommets, and the maker’s label remains intact and clearly legible.
Collectability Level: The Good – Perfect for Beginners and Gifts
Date of Origin: 1910-1925
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): 21.5” x 41.5”
Pennant Size (H x L): 10.25” x 27.5” with
Offered is an antique pennant, from 1937, commemorating the International Live Stock Show held in Chicago. It features a bold yellow and black design with an illustration of a steer at the center, encircled by the text "International Live Stock Show." The year 1937 is prominently displayed on a banner beneath the steer, while the word "Chicago" is elegantly scripted along the length of the pennant.
The International Live Stock Show, inaugurated in 1900, was one of the premier livestock exhibitions in the United States, held annually in Chicago. This event was a key gathering for breeders, farmers, and agricultural enthusiasts from around the world. Hosted at the Chicago Stock Yards, the show became a significant platform for showcasing the best livestock, including cattle, swine, sheep, and horses. Participants competed for prestigious awards, which were highly coveted within the agricultural community.
The show not only highlighted the quality and breeding standards of livestock but also served as an educational forum. It provided opportunities for attendees to learn about the latest advancements in agricultural practices, breeding techniques, and animal husbandry. The exhibition featured various events, including judging competitions, parades, and demonstrations, which drew large crowds and fostered a sense of community among those involved in the agricultural industry.
During its peak, the International Live Stock Show played a crucial role in promoting agricultural innovation and excellence. It encouraged the exchange of knowledge and best practices among breeders and farmers, contributing to the advancement of livestock breeding and management. The show's influence extended beyond the United States, attracting international participants and spectators, thereby cementing Chicago's reputation as a central hub for agricultural development.
The 1937 show, represented by this pennant, was one of the many successful iterations of the event, continuing the tradition of excellence and competition.
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: Italian, crafted with a black and gold finish.
Condition Report: Excellent condition, with vibrant colors and minimal signs of wear.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1937
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 44” x 46”
Flag Size (H x L): 33” x 35”
Offered is a 25-star American national flag of all-cotton construction, displaying a distinctive constellation built around a large central star. Surrounding it are two loose rows of smaller stars above and two below, creating a sense of balance while retaining the irregular, handmade quality typical of folk-produced flags.
The canton is small and nearly square, positioned high on the field so that it rests on the white stripe second from the bottom. This placement shortens the canton relative to the field, emphasizing its compact form and giving the design a visually dynamic character. The overall proportions are roughly square, a format that enhances the flag’s sense of balance and separates it from the long, narrow forms that became common later in the 19th century.
Measuring approximately 33 by 35 inches, the flag is ideal for framing and interior display. Many sewn examples from the period are too large for practical presentation; this scale combines visual strength with versatility, a major reason why flags of this size are especially desirable to collectors.
The blue canton has aged to a smoky tone between slate and denim, a color typical of 19th-century cotton dyes. Flags of this era often show variation in blue, from indigo to pale sky shades, depending on the dye and wash process used. Here, the softened blue complements the ivory stars and muted red stripes, producing a cohesive, aged palette. The combination of color, scale, and the canton’s high placement gives the flag a compact, well-composed appearance with strong visual appeal.
CONSTRUCTION
Made entirely of plain-weave cotton, the flag was intended for decorative or domestic use rather than military or maritime service. The stripes are treadle-sewn, showing the even looping characteristic of small home or workshop machines from the 1870s. The stars are double-appliquéd and sewn to both sides of the canton in white thread, brightening the blue field and reinforcing the design. Each star is carefully cut but slightly irregular, showing that they were positioned and stitched by hand using an early foot-powered machine.
The hoist edge lacks grommets or a separate binding, suggesting that it was likely tacked or pinned when displayed. The fly end is turned under and finished with a single line of machine stitching, a simple but sturdy method typical of Centennial-period flags. Every detail—the cotton fabric, white-thread sewing, and square proportions—matches the methods and materials used around 1876.
HISTORICAL CONTEXT
While a 25-star flag would officially correspond to the short period between July 4, 1836, and July 3, 1837, following Arkansas’s admission to the Union, this example was made several decades later. Its materials and machine stitching place it firmly in the Centennial era.
In 1876, the United States celebrated its 100th anniversary with widespread patriotic display. Streets, buildings, and homes across the country were draped in bunting, and parades featured flags of every size and design. At the Philadelphia Centennial Exposition and in towns nationwide, flags appeared on storefronts, homes, and clothing.
During the celebrations, 13-star flags recalling the original colonies and 38-star flags anticipating Colorado’s admission were the most common. Between these symbolic extremes, some makers produced nonstandard designs—reviving early star counts or creating imaginative layouts. This 25-star example fits within that tradition, expressing both nostalgia and creative independence.
The flag likely commemorated the nation’s growth while allowing the maker to experiment with composition and balance. A smaller star count gave room for design freedom that a crowded 37-star field would not. Sewn cotton examples like this were often made for parades, public events, or home display. While thousands of printed parade flags were produced during the Centennial year, sewn examples were fewer, and surviving specimens are now scarce. The flag’s modest size, square form, and individualized star pattern reflect the personal craftsmanship and pride characteristic of the Centennial generation.
SIGNIFICANCE
This flag is a rare and visually strong survivor from the late 19th century, when Americans marked the nation’s first century by reviving early patriotic imagery. Though its star count references Arkansas’s entry into the Union, its construction places it among the handmade Centennial commemoratives of the 1870s. Few 25-star examples of any kind exist, and this one stands out for its unusual layout, square proportions, and small canton.
For collectors of early American textiles, its appeal lies in the combination of rarity and design. The high-set canton compresses the star field toward the lower stripes, producing a composition that feels both balanced and visually engaging. It bridges folk art and patriotic display, representing the creative ways Americans participated in the Centennial celebrations.
In the years after the Civil War, such handmade flags also reflected a desire for national unity and reconciliation. They were expressions of shared history and identity, created in homes and small workshops across the country. While the Centennial saw the mass production of printed flags, this sewn example preserves the individual craftsmanship of an earlier time—a reminder that even in an age of industry, patriotism often found its purest form in handmade work.
Viewed as design, the flag’s loose rows of stars, oversized center, and compact canton create a rhythm that feels both structured and free. Its proportions, rare star count, and confident simplicity align it with the broader language of American folk design—part history, part abstraction.
When displaying historic flags, it is worth recalling that 19th-century conventions differed from modern practice. Parade flags were often printed on one side of long bolts of cotton or silk, with color bleeding through to form a lighter reverse. Makers sometimes oriented cantons differently depending on how the flag was hung or whether printed text needed to be read. At the time, such variations were entirely acceptable; the flag code and its modern display rules came much later. This historical context underscores how 19th-century Americans viewed the flag—with respect, but also with a degree of freedom that reflected the creative energy of the Centennial era.
In its compact scale and inventive design, this 25-star flag embodies the Centennial generation’s effort to celebrate a century of independence through personal craftsmanship—an enduring expression of national pride rendered in simple, lasting form.
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: A square-profile molding with a deep, charcoal-toned surface that mimics the look of hand-grained wood. Subtle linear patterning adds quiet texture and depth, while the finish maintains a restrained sophistication suitable for both period and modern interiors.
Condition Report: The flag shows expected signs of age with minor soiling and light wear scattered throughout the field and along the fly end. There are a few small stains and spots of discoloration consistent with 19th-century cotton. The colors remain strong, with the red and blue well preserved and the white tones evenly aged to a soft ivory. Overall, the flag presents in very good condition for its period, with no significant losses or repairs.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1876
Number of Stars: 25
Associated War: The Indian Wars (1860-1890)
Frame Size (H x L): 45” x 55.5”
Jersey Size (H x L): 33.5” x 44”
Offered is an early baseball jersey with “BOARD OF TRADE” spelled across the chest in dark navy wool felt letters arranged in an arc. The jersey is made of gray pinstriped flannel with narrow tan stripes, typical of uniforms from the 1930s and 1940s. It has a full button front, short tail, and blue trim along the collar and sleeve cuffs. Ventilation eyelets are set under each arm, and inside the collar is a woven label that reads “Honus Wagner Sporting Goods / 438 Wood Street / Pittsburgh.” Stitching, seams, and materials are consistent with the factory-made flannel uniforms of that period.
The left sleeve shows an “NS” monogram, which may refer to either North Side or North Shore—both of which would have been relevant to the Chicago Board of Trade (“CBOT”). Many CBOT members lived along Chicago’s North Shore suburbs—Evanston, Wilmette, and Winnetka among them—and it’s plausible that this jersey represented a Board of Trade club or team drawn from that community. The style and construction are consistent with factory-issued industrial-league uniforms of the late-Depression era.
Company and industrial baseball teams were an important part of American work and social life during the early to mid-1900s. Businesses, trade groups, and civic organizations often formed their own teams to play in local leagues. The reference to the Board of Trade almost certainly points to the Chicago Board of Trade, which had an active presence in those circles. Employees and members fielded teams that competed in business leagues around the city, and it was not uncommon for the CBOT to sponsor or affiliate with regional teams in surrounding communities such as the North Shore, where many of its members resided.
Among all boards of trade across the country, Chicago’s stood apart. Founded in 1848, the CBOT became America’s leading commodities exchange and one of the city’s defining institutions. By the 1930s, its trading floor was a symbol of Chicago’s economic strength and resilience during the Great Depression, with thousands of brokers, clerks, and laborers moving grain and livestock futures that kept the Midwest’s economy in motion. Athletic teams like this one offered both recreation and a way to strengthen camaraderie in a high-pressure environment. Baseball, in particular, became an outlet for workplace pride and a reflection of the city’s blue-collar energy.
That same spirit extended northward into the lakefront suburbs, where baseball held a prominent place in civic and recreational life. During the 1930s and 1940s, the North Shore hosted a network of amateur and semi-professional leagues—many sponsored by local businesses, civic clubs, and Chicago institutions whose employees lived outside the city. Games were played on public diamonds and school fields in Evanston, Wilmette, Winnetka, and Highland Park, often drawing crowds from the surrounding neighborhoods. Teams from the Board of Trade, the stockyards, and local manufacturers regularly traveled the North Shore circuit. These were competitive, well-organized games, blending business rivalry with the sense of community that small-town baseball brought to the region. For many white-collar Chicagoans, suiting up on a summer evening to play along the lakefront was as much a social tradition as it was a sport.
The Honus Wagner Sporting Goods Company, whose tag appears in the collar, adds another layer of significance. Founded in Pittsburgh by Hall of Fame shortstop Johannes Peter “Honus” Wagner shortly after his playing career ended, the firm produced uniforms, bats, and gloves from roughly 1919 through the early 1950s. Wagner was one of the most respected figures in baseball history—a cornerstone of the early Pittsburgh Pirates and an inaugural inductee into the National Baseball Hall of Fame in 1936. Known as “The Flying Dutchman,” he was admired not only for his remarkable skill but also for his integrity and sportsmanship, traits that made his name an ideal brand for quality athletic goods.
Wagner’s reputation gave the company immediate credibility among ballplayers, and his business drew steady demand from amateur, semi-professional, and industrial-league teams across the Midwest and Great Lakes regions. His involvement was more than nominal—he reportedly visited the shop and remained engaged in its operations well into his later years. The label inside this jersey, featuring the 438 Wood Street, Pittsburgh address, corresponds to the company’s mid-1930s to 1940s production period, and its woven script design matches other verified examples from that timeframe. When paired with the jersey’s flannel weight, pinstripe pattern, and reinforced underarms, these characteristics align squarely with a mid-to-late 1930s manufacture.
Taken together, the evidence points to a jersey made for a Chicago Board of Trade baseball team, likely one connected to the city’s North Shore. It stands as a rare surviving piece from the era when America’s corporate and civic institutions proudly fielded baseball clubs as part of daily life. The subject matter itself has wide appeal—connecting fans of the game, students of Chicago history, collectors of financial-market memorabilia, and anyone drawn to the intersection of American commerce and sport. Few objects capture that blend of competition, community, and identity as directly as a uniform worn by traders stepping off the exchange floor to play ball.
Conservation Process: The jersey was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the jersey, it was first washed in a standard wash and then in a dye setting wash. The jersey is positioned behind Optium Museum Acrylic.
Frame: The frame has a clean, substantial profile finished in a dark brown veneer called Cigar Leaf. Its surface has a soft, natural sheen that gives the impression of hand-rubbed wood rather than a heavy gloss. The overall look is simple but refined, with enough depth and warmth to complement the antique jersey.
Condition Report: The jersey shows moderate wear consistent with its age. The flannel fabric remains strong with a few light stains from use. The felt lettering is well preserved with only minor fraying at the edges, and the buttons and Honus Wagner tag remain intact and original.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1935-1940
Frame Size (H x L): 47.5” x 40”
Pennant Size (H x L): 35.5” x 28”
Offered is a set of sheepskin chaps tied to the historic CS Cattle Company of Cimarron, New Mexico, a remarkable example of early ranching gear. Likely dating to the late 1800s or early 1900s, they reflect the craftsmanship and functionality essential to ranch life during that era. Stamped with “CS Cattle Company Cimarron, New Mexico” and marked with the handwritten note “by Drover Jesus B.,” these chaps provide a tangible connection to the ranch’s history and their maker or user. Their design showcases rugged practicality, built to withstand the demands of daily ranch work.
Constructed from leather and sheepskin, the chaps feature a dual-layered belt system with brass hardware for a secure fit. Two front pockets offered practical storage for small tools or essentials, while decorative tassels along the seams reinforced durability and added aesthetic appeal. These details highlight the balance of utility and artistry typical of handmade gear from this period.
Whether from the late 19th or early 20th century, these chaps embody the resourcefulness and craftsmanship of ranching culture. Their sturdy materials, detailed construction, and clear provenance make them an exceptional artifact of ranching history, shedding light on the working conditions and ingenuity of ranchers in northeastern New Mexico.
The combination of sheepskin and a leather belt system, along with tassel reinforcements, aligns with a transitional period when ranching gear began evolving. This predates the widespread popularity of woolies in the early 20th century. The dual-layer belt with brass hardware and functional front pockets reflects the personalized, handmade craftsmanship typical before mass production. The “CS Cattle Company” stamp ties the chaps to the ranch established in 1873, and the handwritten note “by Drover Jesus B.” adds a personal touch, further suggesting their origin during the ranch’s early operations.
CHAP HISTORY
The term "chaps," derived from the Spanish word chaparreras, originated in the 16th and 17th centuries with Mexican vaqueros who used them as protective leg coverings in brushy or rugged environments. Early chaps, often crafted from thick leather, were tied to a belt or saddle and served to shield riders from thorny vegetation, harsh weather, and the wear and tear of horseback riding. As cattle herding spread across North America in the 19th century, chaps became essential gear for cowboys and ranchers.
By the 1800s, chaps evolved into various styles suited to specific needs. Shotgun chaps, with their straight-leg design, were practical for general work, while batwing chaps offered greater freedom of movement. Woolies, made from sheepskin or angora, gained popularity in colder climates for their warmth. Regardless of style, chaps were indispensable for protecting riders’ legs and clothing, symbolizing the resilience and ingenuity of ranching life.
CS CATTLE COMPANY
Established in 1873 by brothers Frank and Charles Springer, the CS Cattle Company is a historic working ranch in northeastern New Mexico, spanning 130,000 acres of plains, foothills, and mountain terrain. Originally part of the Maxwell Land Grant, the ranch carries a legacy of over 150 years of cattle ranching, horse breeding, and hunting under the stewardship of the Springer and Davis families.
Frank Springer, an Iowa-born lawyer, laid the foundation for the ranch in 1873 when he purchased his first 1,000 acres near the Sangre de Cristo Mountains. His brother Charles joined him in 1878, contributing the initials "CS" that define the ranch's brand. Over time, the ranch expanded, blending cattle ranching traditions with innovative practices, such as a horse breeding program that began in the 1880s and continues today.
Management of the ranch transitioned through generations, with Les Davis, Frank Springer’s grandson, taking leadership in 1947. Under his stewardship, the ranch diversified, enhancing its cattle operations and gaining recognition for its contributions to the American Quarter Horse breed. Horses bred at the CS were celebrated as cavalry mounts, polo ponies, and ranch horses.
Today, the CS Cattle Company remains a family-run enterprise, preserving its traditions while embracing modern practices. Its activities include cattle production, horse breeding, and guided hunting, utilizing its expansive terrain. The ranch endures as a symbol of resilience and innovation, embodying the spirit of the American West.
Conservation Process: The chaps were 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 chaps, they were first washed in a standard wash and then in a dye setting wash. The chaps are positioned behind Optium Museum Acrylic.
Frame: The frame is a modern, rustic design crafted from textured brown wood. Its natural finish and visible grain patterns give it an authentic, handcrafted appearance, complementing the historic nature of the sheepskin chaps.
Condition Report: The sheepskin chaps show significant wear, with noticeable losses in the front, likely due to both extensive use and the passage of time. Stains and discoloration are present, further attesting to their heavy use in a working ranch environment. Despite these signs of wear, the condition adds a layer of authenticity and character, reflecting their history and the rugged demands of ranch life.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1873-1910
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 32.5” x 46”
Flag Size (H x L): 22” x 35.5”
Offered here is a large‐scale, thirty-eight star United States flag, printed on coarse cotton and showcasing an offset medallion star pattern. This design features a central star encircled by three concentric rings of stars—a five star inner ring, a ten star middle ring, and a twenty star outer ring—along with two offset stars positioned to the right. Medallion patterns like this were particularly popular in the nineteenth century, reflecting the creativity of private flag manufacturers who often added artistic flourishes to their designs.
The medallion pattern itself holds historical significance, embodying both patriotic symbolism and aesthetic appeal. Such patterns were favored during periods of heightened national pride, as their symmetrical and eye-catching designs emphasized the unity of the states. While the U.S. government did not standardize star arrangements until the early twentieth century, medallion patterns were commonly seen in the flags of the Civil War and post-Civil War eras, making them enduring symbols of an expanding and optimistic nation.
The thirty‐eight stars on this flag represent Colorado’s admission to the Union on August 1st, 1876. Known as the “Centennial State,” Colorado earned its nickname for achieving statehood just twenty‐eight days after the nation’s centennial celebrations. Colorado’s journey to statehood began with the establishment of the Colorado Territory in 1861, spurred by the Pike’s Peak Gold Rush, which brought a wave of settlers to the region. Early statehood efforts faced setbacks, including a veto by President Andrew Johnson in the 1860s, but a renewed push in the mid-1870s culminated in Colorado’s official entry as the thirty-eighth state following Congress’s passage of an enabling act.
Although the thirty‐eight star flag did not become official until July 4th, 1877, flag makers frequently produced “anticipatory flags” ahead of such changes. These flags played a prominent role during the centennial celebrations of 1876, alongside revival designs featuring thirteen stars to commemorate the original colonies. The Centennial year was a watershed moment for the United States, fostering a renewed sense of patriotism and unity after the divisions of the Civil War. Communities across the nation adorned homes, businesses, and public spaces with red, white, and blue decorations, and flags became the centerpiece of this outpouring of national pride.
The Centennial International Exposition in Philadelphia was the highlight of these celebrations, attracting nearly ten million visitors between May and November of 1876. This world’s fair showcased American ingenuity on a grand scale, with notable exhibits including the Corliss Steam Engine and Alexander Graham Bell’s telephone, which would go on to revolutionize communication.
The thirty‐eight star flag officially served from July 4th, 1877, to July 4th, 1890, during which it flew over the administrations of Presidents Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. This flag represented a nation growing both geographically and industrially. Colorado’s statehood symbolized the United States’ expansion westward, driven by mining booms, railroad construction, and the development of new settlements.
In 1890, the addition of five new states—North Dakota, South Dakota, Montana, Washington, and Idaho—necessitated a redesign, and the forty‐three star flag replaced the thirty‐eight star version. Despite its relatively short tenure, the thirty‐eight star flag remains a prized artifact, celebrated for its vibrant medallion designs and its connection to the Centennial year—a defining moment in American history when the nation reflected on its first century and welcomed Colorado as a symbol of progress and unity.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: This offering is in our X-Large Distressed Black and Silver Frame.
Condition Report: The flag is in overall good antique condition for its age. The colors remain visible, though the red and blue areas exhibit fading consistent with time and exposure. There are some small holes, fraying along the edges, and light staining, but these issues do not significantly detract from its historical integrity or presentation. If anything, they add to it.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1876-1889
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Frame Size (H x L): 38” x 28”
Flag Size (H x L): 11” x 18” and Affixed to a 28” Staff
Offered is a forty-five star flag made of glazed cotton. The stars are arranged in an interesting 8-7-8-7-7-8 pattern, in which the first and third rows are staggered to the left, and the fifth row is alternatively staggered to the right. This is an unusual pattern, as most forty-five star flags are more symmetrical in nature. 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: This offering is in our Medium Distressed Black Frame. However, it can be reframed and would look great using any one of our Medium Frames, which are shown in the image. The pricing associated with the different framing options may vary. Reframing of an offering may delay shipment by up to two weeks.
Condition Report: This flag has some minor stains, but otherwise is in excellent condition. Many collectors prefer flags that show their use and age.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1896-1907
Number of Stars: 45
Associated State: Utah
Associated War : The Spanish-American War (1898)
Frame Size (H x L): 21” x 38”
Pennant Size (H x L): 12” x 29”
Offered is an antique pennant, made for the International Live Stock Show, held in Chicago. It is red and features overprints of a prize winning bull, hog, lamb, and horse. The horse is haltered and held by a woman, who is also holding a championship trophy.
INTERNATIONAL LIVE STOCK SHOW
The International Live Stock Show, also known as the Chicago International, was a major agricultural exhibition held annually, from 1900 until 1976. The show was one of the largest and most prestigious events of its kind. It featured a variety of livestock competitions, including judging of cattle, hogs, sheep, and horses, as well as exhibits of agricultural machinery, animal feed, and other related products.
Over the years, the International Live Stock Show grew in size and scope, attracting exhibitors and spectators from across the United States and around the world. In the early 20th century, the event became a key platform for promoting American agricultural exports to Europe and other global markets.
Despite its success, the International Live Stock Show faced challenges in the postwar era. Changes in the livestock industry, including the growth of large farms and the consolidation of meatpacking companies, led to declining interest in traditional livestock shows. In addition, rising urbanization and changing consumer preferences reduced the appeal of rural-themed events like the Chicago International.
Ultimately, in 1976, the International Live Stock Show was discontinued due to declining attendance and financial difficulties. Today, the legacy of the show lives on in the Union Stockyards Gate, a landmark entrance to the former stockyards site that has been preserved as a symbol of Chicago's agricultural heritage.
INTERNATIONAL AMPHITHEATRE
The bottom of the pennant offered herein includes an image of the International Amphitheatre, a multi-purpose indoor arena, opened in 1934. The arena was designed by Abraham Epstein and hosted a variety of events, including concerts; sports competitions; political conventions; trade shows; and of course, the International Live Stock Show. The International Amphitheatre hosted legendary musicians, such as Elvis and the Beatles, and several presidential nominating conventions. However, due to facilities eventually becoming outdated and the decline of the livestock industry in the surrounding neighborhood, the International Amphitheatre eventually closed and was demolished in 1999.
ADVERTISING FLAG COMPANY
This pennant was made by the Advertising Flag Company (i.e., as indicated by the reference thereto under the champion bull). It was founded in 1936 in Chicago, Illinois by Frank F. Smith, and quickly became known for its production of high-quality flags, banners, and promotional products. Later, the company expanded its offerings to include custom-designed products and supplied flags and banners for major events. In the 1960s, the Advertising Flag Company introduced new technology and production techniques, allowing for more complex designs and faster production times. The company's legacy as a pioneer in the flag and banner industry continues to be felt today, with a wide range of products still available for customers worldwide.
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: This pennant is in a reclaimed wood frame.
Condition Report: There is some toning of the hoist strip. But overall, the pennant is in excellent condition.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1940-1960
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): 38.5” x 25”
Seed Sack Size (H x L): 29” x 15.5”
Offered is a vintage seed sack with the following overprint:
1513
PERM.PAST.MIX
Earl May
MAYGOLD
FARM SEED
EARL MAY SEED CO.
SHENANDOAH, IOWA
The sack further includes a fantastic image of an ear of corn with kernels falling into a pot. The pot includes a money sign, so as to symbolize healthy profits, stemming from a future, bumper crop.
The Earl May Seed Company was founded in Shenandoah, Iowa, in 1919 by Earl E. May. He started the business to sell quality seeds and gardening products to the local community. Over time, the company expanded to offer nursery plants, gardening tools, and other products. Shenandoah has a history of horticulture, which helped the company grow. Today, the Earl May Seed Company is known for its good customer service and reliable products, making it a go-to resource for many gardeners and farmers in the Midwest.
Conservation Process: This seed sack 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 sack, it was first washed in a standard wash and then in a dye setting wash. The sack is positioned behind Optium Museum Acrylic.
Frame: This offering is in a distressed wooden frame.
Condition Report: There are some minor stains, but overall it is in excellent condition.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1950-1960
Frame Size (H x L): 16.5” x 38”
Textile Size (H x L): 7.5” x 25.25” with 3.5” tassels.
Offered is an antique New York Black Yankees pennant. Its field is red, its hoist strip is yellow, and its tassels are purple. It features a batter at the plate, a pitcher on the mound, an umpire, a catcher, and several fielders. Pennants, such as this one, were sold at the ballpark and kept as souvenirs. Black Yankees’ pennants are rare and highly desirable.
HISTORY OF THE BLACK YANKEES
In 1931, Bill “Bojangles” Robinson and James “Soldier Boy” Semler” formed the Harlem Black Bombers, which would soon thereafter become the New York Black Yankees. Robinson was a dancer, actor, and singer, and between 1900 and 1949, he was the most highly compensated black entertainer in the US. Over the course of his career, he appeared on Broadway, on the radio, on television, and in films. His signature routine was the “Stair Dance,” in which he would tap up and down stairs in rhythmic, complex steps. Semler was an entrepreneur with ties to the numbers racket.
From 1931 to 1935, the Black Yankees were independent; from 1936 to 1948, they played in the Negro National League (“NNL”); and in 1949 and 1950, they returned to being independent. They endured a punishing schedule, regardless of whether they were playing independently or in a league. In one instance, they played a doubleheader in Pittsburgh, Pennsylvania and the following day played a doubleheader in South Orange, New Jersey, located 350 miles therefrom. To do this, they departed from Pittsburgh at 10:00 PM and drove through the night. While in transit, in the Allegheny Mountains, one of their two cars broke down. In response, 9 of the 16 players (i.e., a team’s worth) shoehorned themselves into the other car, and they returned on their way. Despite arriving 20 minutes late and only having around half the team, the umpires allowed them to play, and they won both games.
The Black Yankees played most of their games at Yankee Stadium, the only exceptions being in 1938 when they played at Triborough Stadium, and from 1948-1950 when they played at the Red Wing Baseball Stadium.
They were not a particularly good team. Between 1936 and 1948, the NNL years, they consistently finished in either last place or second to last place—largely the result of Semler’s unusual approach to building the team. He primarily utilized older, well-known players, the thinking being that collectively they would be good enough to win or—at the very least—popular enough to fill the seats. During World War II, Semler even boasted that the team was draft proof, being that every player was too old to be in the draft pool.
Although Semler’s strategy did not result in wins, it did result in a collection of notable players, including Fats Jenkins; Ted “Double Duty” Radcliffe; George “Mule” Suttles; Willie Wells; George Crowe; Carlos Ascanio; and perhaps most notably of all, Satchel Paige. Paige started in the NNL, but later played Major League Baseball (“MLB”) with Jackie Robinson and other desegregation pioneers. When he made the transition, in 1948, he was 42 years old and played for the Cleveland Indians. He pitched in the World Series that same year. His best pitch was his fastball, which he referred to by various names, including the Bat Dodger, the Midnight Rider, the Midnight Creeper, the Jump Ball, and the Trouble Ball. In 2010, Joe Posnanski of Sports Illustrated named him the hardest thrower in baseball history, the basis being that DiMaggio said so, Bob Feller said so, Hack Wilson said the baseball moved so fast that it looked like a marble, and Dizzy Dean said that Paige’s heater made his own look akin to a changeup.
In 1947, when Robinson signed with the Brooklyn Dodgers, NNL fans became MLB fans in an exponential fashion. The NNL disbanded the following year in 1948.
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 Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).
Frame: This pennant is in a special edition Medium Frame. However, it can be reframed and would look great using any one of our standard Medium Frames, which are shown in the final image. Reframing of an offering may delay shipment by up to two weeks.
Condition Report: This offering is in excellent condition.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1936-1948
Frame Size (H x L): 35.5” x 29.5”
Banner Size (H x L): 25” x 18”
Offered is a cotton broadside. Broadside advertisements from the 19th century have a unique allure, reflecting not only the aesthetic and design sensibilities of the time, but also the groundbreaking innovations they aimed to promote. A remarkable specimen of such a broadside showcases the "Walter A. Wood Tubular Steel Mower".
Central to the broadside, a farmer can be observed maneuvering the mower across a field. Unlike traditional mowers of its time, this machine's construction primarily utilized steel, ensuring enhanced durability and performance. The mower's design was revolutionary. Its lightweight nature, attributed to its steel construction, optimized its efficiency.
Also central to the broadside, a team of horses guides the mower forward. The farmer is seen raising the cutting mechanism thereof to avoid a collision with a nearby tree stump. This action is likely deliberate, underscoring the mower's advanced design and functionality. Adjacent to the stump, a dog barks at a small varmint emerging from the stump, adding a touch of liveliness to the scene. This portrayal seamlessly marries the notions of agrarian diligence with technological ingenuity, emphasizing the mower's adaptability and precision in diverse terrains.
WALTER A. WOOD AND HIS COMPANY
Born on October 23, 1815, Walter Abbott Wood's life was a testament to hard work, ingenuity, and persistent innovation. Originating from Mason, New Hampshire, Wood's early life was marked by a mechanical aptitude which he honed over the years. His relocation to Rensselaerville, New York, in 1816, and later to Hoosick Falls in 1835, set the stage for his outstanding contributions in the agricultural machinery sector.
Under Wood's leadership, the Walter A. Wood Company saw a meteoric rise, transitioning from humble origins to becoming one of the world's foremost manufacturers of mowing and reaping machines. Beginning with the manufacturing of iron mould-board plows in partnership with John White, the company's quest for innovation led to the creation of the iconic Walter A. Wood Mower and Reaper.
The company's growth was exponential. By 1865, they produced over 8,000 machines, a leap from a mere two in 1852. Their relentless pursuit of perfection earned them over 1,200 different awards and recognitions globally, including commendations from Napoleon III and Emperor Franz Joseph.
The Walter A. Wood broadside serves as a window into the past, offering glimpses of a time when innovations in agriculture were reshaping the world. Behind its vibrant colors lies the legacy of a man whose vision transformed farming practices, a company that pioneered change, and a machine that stood as a beacon of innovation.
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 a UV resistant acrylic and spaced apart therefrom using spacers.
Frame: This banner is in our Large Distressed Gold Frame.
Condition Report: There is some toning and a few small, minor stains. In other respects, this banner is in excellent condition, age appropriate, and visually striking.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1890
Frame Size (H x L): 21” x 40.5”
Pennant Size (H x L): 11” x 28” with 2.5” ties
Offered is an antique pennant, made for the Cheyenne Frontier Days. It features a cowboy atop a bucking bronco, as well as the following overprint:
FRONTIER DAYS
CHEYENNE
LET’ER BUCK
JULY 23-28-1917
The Cheyenne Frontier Days stands as an emblem of the enduring spirit of the American West. Founded in 1897, this event is more than a mere celebration; it encapsulates the essence of western heritage, becoming an enduring tradition that tells the story of a time gone by.
The origins of the Cheyenne Frontier Days can be traced back to the late 19th century when a group of visionary individuals from Cheyenne sought to commemorate the Old West's unique culture and traditions. Their goal was to create an event that would not only entertain but also educate attendees about the way of life, skills, and challenges of the frontier days. As a result, in 1897, the first "Frontier Day" was held, showcasing rodeo events, parades, and other western-themed festivities.
Over time, this annual event grew in scale and stature. Rodeo events expanded to include bull riding, steer wrestling, and barrel racing, among others, drawing participants from all over the country and later from around the world. The rodeo quickly became a central attraction, and the Cheyenne Frontier Days soon earned the title of the "World's Largest Outdoor Rodeo."
The Cheyenne Frontier Days offers more than just thrilling rodeo events. It serves as a living testament to the history of the West. The accompanying "Old Frontier Town" offers a step back in time, where attendees can experience firsthand the life of pioneers, gold prospectors, and cowboys. Craftsmen demonstrate traditional skills, such as blacksmithing and leatherworking, while Native American dancers and storytellers share their rich heritage and traditions.
This event has also always been a hub for music and entertainment. Over the years, it has seen performances from some of the biggest names in country music, further establishing its reputation as a major cultural event.
Beyond culture and entertainment, the Cheyenne Frontier Days holds substantial economic significance for Wyoming. Each year, the event draws a considerable number of tourists, boosting local businesses and contributing significantly to the state's economy. Hotels, restaurants, shops, and other local establishments benefit from the influx of visitors.
Socially, the event fosters a sense of community. Locals volunteer in various capacities, from organizing events to managing logistics. These collaborative efforts strengthen community bonds and promote a sense of pride and ownership in preserving and presenting their shared heritage.
The Cheyenne Frontier Days stands as a beacon of America's western heritage. It reminds us of the grit, determination, and adventurous spirit of those who lived during the frontier days. More than a century after its inception, it remains a symbol of the past, a celebration of the present, and a beacon for the future. It not only pays homage to the traditions and tales of the Old West but also provides an essential bridge connecting generations, ensuring that the stories, skills, and values of the frontier live on in the hearts and minds of all who attend.
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 pennant is in a reclaimed wood frame.
Condition Report: There are a few very small holes and tears. There is some toning along the hoist stripe. But generally, this pennant is in excellent condition and very attractive.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1917
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 30” x 39.5”
Flag Size (H x L): 19.5” x 28.5”
Offered is an extraordinary thirty-six star American flag, printed on coarse, glazed cotton. This striking example features a highly desirable medallion star pattern, a design that is both visually captivating and historically significant. At the heart of the canton lies a bold center star, encircled by two rings of stars, with additional flanking stars positioned in each corner—creating a stunning and meticulously balanced composition.
MEDALLION FLAGS: A REFLECTION OF AMERICAN PATRIOTISM AND ARTISTIC EXPRESSION
Medallion-patterned flags were a product of their time, appearing most frequently between 1861 and 1876. Unlike today’s standardized designs, nineteenth-century flag makers had the freedom to arrange the stars in any pattern they chose, resulting in highly creative and often elaborate designs. Among these, the medallion configuration was particularly prized, as it created a sense of order and symmetry while also making a bold visual statement.
Medallion flags were commonly used for patriotic displays, political rallies, and ceremonial occasions. They were typically printed on lightweight cotton or silk, making them more delicate than their wool bunting counterparts, which were more commonly used for military and naval applications. While many medallion-patterned flags were handmade or printed in small batches, their use declined by the late nineteenth century as industrialization led to mass production and increasing standardization. By the 1890s, most flag manufacturers had moved toward linear arrangements, a trend that was eventually codified in 1912 when President William Howard Taft issued Executive Order 1556, which mandated the arrangement of stars into rectilinear rows.
THE CENTER STAR: A SYMBOL OF GROWTH AND UNITY
One of the defining features of this flag is the large, canted center star—a hallmark of some of the most striking nineteenth-century flag designs. Unlike the Great Star pattern, in which a single large star is formed by smaller stars, the center star is a singular, prominent feature placed at the heart of the canton. Historically, the center star was often used to symbolize the most recently admitted state—in this case, Nevada.
Adding to the flag’s rarity, the center star is haloed, featuring a smaller, bold star enclosed within a faint outline. Haloed stars are highly collectible, as this unique design choice appears to have been the hallmark of a single, yet unidentified, manufacturer. This particular maker produced multiple haloed center star flags across different star counts, including examples with thirty, thirty-four, thirty-five, thirty-six, and forty-two stars.
THE DISTINCTIVE STRIPES
Another striking element of this flag is its orange-toned stripes. Instead of the deep crimson we associate with American flags today, the red stripes have taken on a distinctive orange hue. This variation is due to the natural dyes used during the period, primarily madder root and cochineal. Both dyes were commonly used between 1850 and 1880, and their hues could range from deep red to orange, depending on the concentration, mordant, and exposure to light over time. The warm patina of the stripes adds to the overall character of this piece, making it an even more compelling example of early American flag-making.
NEVADA’S PATH TO STATEHOOD
The thirty-six star flag represents the admission of Nevada into the Union on October 31st, 1864, in the midst of the Civil War. However, as was customary, the official adoption of the new star count took place the following July 4th, 1865. This flag was, therefore, the official banner of the United States for the last six months of the war and continued to be used throughout the early Reconstruction era.
Nevada’s road to statehood was both unique and deeply tied to national political and economic concerns. The region was originally part of the Utah Territory when it was established in 1850, but due to increasing tensions between Mormon settlers and non-Mormon mining communities, it was separated and designated as the Nevada Territory in 1861. However, despite its immense mineral wealth—particularly the Comstock Lode, one of the richest silver deposits in the world—Nevada had a small population and did not meet the typical requirements for statehood.
President Abraham Lincoln and congressional Republicans saw great strategic value in admitting Nevada as a state. Politically, Lincoln was seeking re-election in 1864 and needed additional electoral votes to secure victory against his Democratic opponent, General George McClellan. The addition of a Republican-leaning state to the Union would help bolster support for Lincoln’s administration and ensure continued backing for the war effort. Additionally, Nevada’s silver mining industry was crucial to the federal government, as the Civil War had placed enormous financial strain on the nation. The revenue from Nevada’s mines helped finance the Union’s war expenses, making the territory’s inclusion an economic necessity.
Statehood was fast-tracked, with Lincoln urging Nevada’s territorial leaders to draft a state constitution. In an unprecedented move, Nevada’s entire constitution was telegraphed to Washington, D.C., in October 1864, an act that was considered a remarkable technological feat at the time, as it was the longest telegraph transmission ever sent. Just days later, on October 31st, 1864, Lincoln signed the proclamation officially admitting Nevada as the thirty-sixth state.
Following its admission, Nevada’s borders expanded in 1866 when the western portion of Utah Territory was annexed to its eastern boundary. The following year, in 1867, another addition from Pah-Ute County, Arizona Territory, further extended the state’s southern region.
A FLAG THAT BRIDGES TWO ERAS
The thirty-six star flag is significant not only because of its association with the Civil War but also because it marks a transitional period in American history. It was the official flag at the close of the war, flown as Union forces achieved final victory over the Confederacy. It was also present during the beginning of Reconstruction, a complex and contentious era in which the nation grappled with reintegration and the rights of newly freed African Americans.
This flag remained the official U.S. flag until July 4th, 1867, when the thirty-seven star flag was introduced to commemorate Nebraska’s statehood. However, flags with thirty-six stars likely continued to be used well beyond their official tenure, as flag replacement was often slow, particularly in military and civilian contexts.
With its eye-catching medallion pattern, haloed center star, and unique orange-toned stripes, this flag stands out as an exceptional representation of American history. Whether displayed as a collector’s centerpiece, studied for its craftsmanship, or appreciated as a tangible connection to the Civil War and the Reconstruction era, this remarkable example encapsulates the artistry and patriotic fervor of the mid-nineteenth century.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The frame is a blend of contemporary and traditional styles, designed to bring the beauty of nature to any setting. Made in Italy and finished in an opaque black color, it adds a touch of elegance and sophistication to an office, home, or other environment.
Condition Report: This flag exhibits the expected wear and patina of a well-preserved mid-nineteenth-century textile. The cotton shows signs of age, with some staining and discoloration, particularly in the white stripes, which have developed a warm, aged tone. The canton retains strong coloration, though there is some fading and minor fraying along the edges. To enhance its presentation, cotton has been carefully placed behind certain portions of the flag to mask flaws and stabilize areas of wear.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1864-1867
Number of Stars: 36
Associated War: Civil War (1861-1865)
Associated State: Nevada
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 42” x 26.5”
Flag Size (H x L): 11” x 16” and Affixed to a 30” Staff
Offered is a thirteen-star homemade flag made of silk, likely dating to the time period between 1876 and 1915. Homemade flags are amongst the most collectible and interesting of all antique flags. They were typically made with whatever materials were available, and the placement of the canton, stripes, and stars is often times quite whimsical, even in modern examples. The flag is affixed to an unusual square staff, unlike a round staff as is typically the case in antique flags.
Its silk stripes are machine sewn. From a US perspective, Walter Hunt built one of the earliest practical sewing machines between 1832 and 1834. Elias Howe later built and patented one in 1846 (see US 4,750), and Isaac Singer then built and patented an improved one in 1851 (see US 8,294). By 1856, patent allegations in the sewing industry were so numerous, that the "Sewing Machine Combination" was formed, in which Singer, Howe, and others agreed to pool their patents and define licensing arrangements. By 1860, over 100,000 sewing machines were made in the US alone. And for this reason, the majority of Civil War flags include at least some machine sewn portions, particularly along their stripes. Nearly all centennial flags are machine sewn throughout, minus the sewing of their stars, which was still sometimes performed manually. By 1900, nearly all flags were entirely machine sewn.
The stars are arranged in a 4-5-4 pattern. Flags having such a pattern are among the most difficult of all thirteen-star flags to find, and they also have a fantastic visual appeal. In our experience, of the thirteen-star antique flags that come to market, around 75% are the 3-2-3-2-3 Hopkinson pattern, around 20% are the medallion pattern, and the remaining 5% are various different patterns, including the 4-5-4 and Betsy Ross patterns. The 4-5-4 pattern is generally encountered in flags dating to the Civil War and earlier. Because of the prevalence of this pattern in the early 1800s, it may have been used in the first flag design. Despite this pattern’s early popularity, it was rarely used after the Civil War, not even during the Centennial.
The stars on this flag have six points, not five, and are affixed with glue. From 1777 until 1912, stars of the US flag did not have a specified format, such as a specified shape or number of points. Still, nearly all flags, even prior to 1912, had five points. Some experts believe that non-five pointed stars may be used in just 1-in-500 to 1-in-1000, antique flags. Additionally, some experts believe that six pointed stars may indicate that the maker was Jewish, that the maker welcomed those of the Jewish faith, or that the maker had southern sympathies.
Of additional note, this flag has just eleven stripes. The inclusion of just eleven stripes (rather than the typical thirteen stripes) may be indicative that this flag was used in the South. The South would sometimes use the standard US flag, but remove stars or stripes. Here, the eleven stripes may represent the number of Confederate States that ratified secession. In some cases, the number of stripes and the points on the stars may simply be a result of the maker's creativity (or even an accident). However, in the case of this flag, it is logical that the number of points on the stars and the number of stripes are indicative of this being a Southern Civil War flag.
The original use of the thirteen-star flag dates to June 14th, 1777, the time at which the Continental Congress adopted a resolution creating the first official flag. The resolution stated, “Resolved, that the flag of the United States be made of thirteen stripes, alternate red and white, that the union be thirteen stars, white on a blue field, representing a new constellation.” Thirteen-star flags were official from 1777-1795, but have been in use ever since.
Small US Navy boats used it as the ensign from 1795 until 1916. Thirteen-star flags were also flown at the time of George Washington’s death in 1799 and to celebrate the nation’s 50th anniversary in 1824. They were also flown in 1824 in honor of General Lafayette’s return to the US for his nationwide tour. Celebrations for his Revolutionary War service were held in New York, Boston, and Philadelphia, along with many locations in the southern and western states.
Further, thirteen-star flags were also common during the Mexican War in 1846-1848 and the Civil War in 1861-1865. They were both relatively close in time to the revolution, and were very patriotic times, particularly during the Civil War time period when flag use became much more common than had ever previously been the case. Thirteen-star flags were also flown during the centennial celebrations, which were held across the country and, most notably, in Philadelphia at the Centennial International Exhibition.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).
Frame: This offering is in our Large Distressed Black and Gold Frame.
Condition Report: The white silk stripes are splitting. The square wooden staff has some damage, but the damage is to the side of the staff that does not show as framed. Many collectors prefer flags that show their age and use.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1876-1915
Number of Stars: 13
Associated War: The Spanish American War (1898)
Associated State: Original 13 Colonies
Price: Please call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 18.5” x 38”
Pennant Size (H x L): 6.25” x 23.75” with 3.5” tassels
Offered is a “VOTES FOR WOMEN” pennant. The tassels are black, the hoist strip is yellow, the field is black, and the lettering is yellow. All are made of felt. Yellow was the primary color in the women’s suffrage movement in the US, and was combined with various other colors, including black and purple in many instances.
In 1848, Lucretia Mott and Elizabeth Cady Stanton organized the first women’s rights convention in Seneca Falls, New York. As a result of this meeting in Stanton’s hometown, the document containing a declaration for women’s suffrage, right to education, and right to employment was drafted. Over the next 50 years, numerous women’s conventions were hosted to bring strength to the movement in masses. In 1906, the daughter of Elizabeth Cady Stanton, Harriot Stanton Blatch, founded the Equality League of Self-Supporting Women, which later became the Women’s Political Union. The Women’s Political Union organized working-class suffragists and, in 1910, organized the first large scale suffrage march in the United States (in New York City).
Though initially targeted as a state-by-state movement, it was ultimately recognized that only an amendment to the Constitution would grant all women the right to vote. Amendments were introduced in 1878 and 1914, both of which were defeated. By 1918, both political parties were committed to women’s suffrage, in part based on the major role women played in World War I. As such, in January of 1918 and June of 1919, an amendment was passed by two-thirds majorities in the House and Senate, respectively. On August 18th, 1920, Tennessee became the 36th state to ratify the amendment, giving the two-thirds of state legislators necessary to ratify the amendment. On August 26th, the Nineteenth Amendment became part of the Constitution, and stated the following:
The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex. Congress shall have power to enforce this article by appropriate legislation.
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 a UV resistant acrylic, and spaced apart therefrom using spacers.
Frame: This offering is in a modern black and gold frame.
Condition Report: This pennant includes some small holes and tears.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1910-1920
Frame Size (H x L): 35” x 37”
Kerchief Size (H x L): 24” x 26”
Offered is patriotic kerchief made for the Benjamin Harrison campaign. It is made of blue cotton and is covered in stars. A flowing ribbon extends across its face and states, “PROTECTION TO HOME INDUSTRIES,” a slogan and theme for the 1888 Harrison campaign. Campaign kerchiefs 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. Campaign kerchiefs were worn, presented in store fronts, waved in parades, flown at political rallies, and hung from buggy whips.
An example of this kerchief is documented in the Threads of History, written by Herbert Ridgeway Collins (item number 645). The referenced example was held in the Ralph E. Becker Collection. 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.
Harrison was a moderate Republican, and elected the 23rd president in the election of 1888. Harrison ran against Grover Cleveland, the incumbent President and a Democrat. Harrison lost the popular vote, but won the electoral vote with 233 electoral votes to Cleveland's 168. Harrison signed into law the Sherman Antitrust Act in 1890, the first legislation prohibiting business combinations in restraint of trade. Despite this, many Americans viewed Harrison and the Republicans as being too closely aligned with the wealthy elite, and as wasteful. Upon Harrison's election, the treasury had a great surplus, but the "Billion-Dollar Congress" spent enormous sums on soldiers' pensions and business subsidies, erasing the surplus. By 1890, the Democrats recaptured the House of Representatives by a large majority, and in turn, Harrison had little influence on legislation. In the election of 1892, Harrison lost the electoral vote with 145 electoral votes to Cleveland's 277.
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 Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).
Frame: This offering is in our Large Distressed Black and Gold Frame.
Condition Report: This kerchief is in excellent condition.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1888
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 37” x 47.75”
Flag Size (H x L): 26” x 36.75”
Offered is an exceptionally rare 47 star antique flag—and a handmade example, to boot.
The scarcity of 47 star flags is largely due to the brief period during which this star count was accurate, spanning from the addition of New Mexico as the 47th state on January 6th, 1912, to the admission of Arizona as the 48th state on February 14th of the same year. This window of merely 38 days provided a very limited timeframe for the production and distribution of these flags. Furthermore, these flags never achieved official status because of the stipulations set forth by the Third Flag Act of 1818, which declared that the official flag would only be updated to include new states on the 4th of July each year. Consequently, because Arizona was admitted before the subsequent Independence Day following New Mexico's statehood, the official star count transitioned directly from 46 to 48, bypassing the 47 star version entirely.
Manufacturers of the time, aware that Arizona's statehood was forthcoming and would shortly follow New Mexico's, likely chose not to produce the 47 star flag to avoid the issue of surplus stock. This was compounded by the fact that by 1912, flag-making had largely transitioned from a homemade craft to an industrial process, making homemade 47 star flags exceedingly scarce since they would have been made based on the individual maker's initiative within an incredibly narrow window.
The speculated anticipation that Arizona and New Mexico might be admitted as a single state further contributed to the scarcity of the 47 star flag. If this had occurred, the 47 star configuration would have been entirely skipped, making any flags produced with this count not just rare, but unnecessary. These factors combined to make the 47 star flag an uncommon historical footnote and a prized item for collectors due to its scarcity and unique place in the story of the American flag's evolution.
Referring back to the flag at hand, its stars are arranged in an 8-8-8-8-8-7 pattern. The stars in the first five rows are generally, but not perfectly, aligned in columns. The stars in the sixth row are centered between the stars in the first five rows. The stars are hand-cut and chunkily shaped. Such stars are sometimes referred to as akimbo stars (i.e., akin to the human "akimbo" posture, where hands are placed on the waist with elbows turned outward).
New Mexico Statehood
New Mexico's journey to statehood was a lengthy and complex process, deeply embedded in the broader narratives of American territorial expansion, cultural integration, and political negotiation. Initially, the region was inhabited by Native Americans for thousands of years before becoming part of the Spanish Empire in the 16th century. The territory then came under Mexican rule following Mexico's independence from Spain in 1821. The Mexican-American War, which concluded in 1848 with the Treaty of Guadalupe Hidalgo, transferred New Mexico to the United States, marking the beginning of its period as a U.S. territory. This era ushered in a new phase of coexistence and conflict among the Native American inhabitants, Hispanic settlers, and Anglo-American newcomers.
During the territorial period, New Mexico experienced significant economic and social transformations. The establishment of the Santa Fe Trail facilitated economic growth, while the U.S. Civil War highlighted the territory's strategic importance. Despite an early interest in joining the Union, New Mexico's bid for statehood faced obstacles. Concerns over the territory's cultural diversity, religious differences, and the political implications of admitting a new state played into the national debate over the balance between free and slave states.
It was not until January 6th, 1912, that New Mexico was admitted as the 47th state of the United States, following decades of negotiation and reassurances about the rights and integration of its diverse population. This admission reflected the culmination of a complex interplay of historical, cultural, and political factors, showcasing the challenges and opportunities associated with bringing such a unique region into the fold of the United States.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: This offering is in a modern black frame. Portions of its profile are smooth; other portions are rippled.
Condition Report: There is staining and foxing throughout. Some stars are generally white, while others are somewhat yellow. There is some fading, forming a pair of stripes extending generally at a 45-degree angle, starting from the canton. Despite these issues, this flag displays wonderfully and looks great.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1912
Number of Stars: 47
Associated State: New Mexico
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