Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 30.5” x 19”
Pennant Size (H x L): 17” x 8.25” with 4.75” ties
Offered is a rare political campaign pennant produced for Ohio's landmark 1915 statewide prohibition referendum, boldly printed "MAKE OHIO DRY 1915" in white lettering against an orange wool felt field. The pennant is of classic early twentieth-century construction, with a tapered felt body, stitched blue felt binding across the hoist, and matching blue felt ties designed for attachment to clothing, a vehicle, or display at rallies and public gatherings. Intended as a highly visible campaign accessory, it represents one of the more recognizable surviving slogans associated with Ohio's statewide prohibition movement.
The pennant survives with two original identifying labels, an unusual and important feature that documents both the organization responsible for the campaign and the Columbus firm that produced or supplied the piece. Sewn beneath the blue felt binding on the front is a printed label reading:
State Central Committee
County Dry Federations
701 Wyandotte Bldg.
Columbus, O.
Rather than identifying a commercial maker, this label attributes the pennant to the statewide committee representing Ohio's network of County Dry Federations. Contemporary records confirm that county dry federations operated throughout Ohio during this period, bringing together churches, temperance organizations, civic leaders, and local supporters in a coordinated effort to secure statewide prohibition. While the Ohio Anti-Saloon League remained the movement's best-known organization, period publications demonstrate that the statewide campaign functioned as a broad coalition of cooperating groups rather than a single organization acting alone. The committee headquartered in Columbus coordinated these county organizations during the statewide referendum campaign of 1915.
The Columbus address itself is noteworthy. The committee occupied offices in the Wyandotte Building, one of the city's most prominent commercial office buildings. Completed in 1898 and designed by Daniel Burnham & Company, the steel-frame structure was Columbus's first skyscraper and remained among the city's premier business addresses during the early twentieth century. Housing the campaign headquarters in the Wyandotte Building reflects the organized, professional character of the prohibition movement, which by 1915 had developed an extensive statewide administrative structure capable of coordinating thousands of local volunteers and supporters.
Equally important is the original label retained on the reverse, identifying:
Shipley & Company
Advertising Specialists
Columbus, Ohio
Contemporary Columbus city directories and period advertising establish Shipley & Company as one of the city's leading advertising specialty firms. The company supplied a remarkably broad range of custom promotional merchandise, including banners, badges, calendars, celluloid novelties, leather goods, metal souvenirs, and other advertising specialties produced for businesses, civic organizations, and political campaigns. Their own advertising promoted custom souvenirs among their principal offerings, making the firm a logical supplier for campaign material such as this pennant. The presence of both original labels provides an uncommon level of documentation, identifying not only the organization responsible for distributing the pennant but also the Columbus advertising firm that produced or supplied it.
The campaign represented by this pennant sought to unite a diverse cross-section of Ohio society. Contemporary publications identify ministers, businessmen, educators, farmers, labor representatives, members of the Woman's Christian Temperance Union, and other civic leaders among those directing the statewide effort. One such figure was Worthington Kautzman of Columbus, a prominent businessman and former Adjutant General of Ohio, whose name appears in contemporary campaign literature associated with the movement. Rather than functioning as a narrow political organization, the campaign emphasized cooperation among the various "dry" organizations operating throughout the state, a theme repeatedly stressed in contemporary publications.
The significance of this pennant extends beyond the unsuccessful referendum of 1915. Although Ohio voters rejected the proposed constitutional amendment that November, the campaign itself did not end. Instead, the statewide organization remained intact, retaining the familiar "Make Ohio Dry" slogan and continuing under campaign manager James A. White. Publications issued by the Ohio Dry Federation in 1917 demonstrate the direct continuation of the movement, describing the cooperation between county chairmen, the Ohio Dry Federation, and the Ohio Anti-Saloon League as they prepared a renewed statewide campaign. That effort proved successful. In November 1918, Ohio voters approved statewide prohibition legislation, making Ohio a dry state months before national prohibition took effect. The following January, Ohio became one of the states to ratify the Eighteenth Amendment to the United States Constitution, helping secure the national prohibition of intoxicating liquor, which went into effect on January 17, 1920.
As a result, this pennant represents more than a souvenir of a single political campaign. It is an artifact from the opening phase of the movement that ultimately transformed Ohio law and contributed directly to one of the most significant constitutional changes in American history. Political textiles documenting statewide reform campaigns are encountered far less frequently than those associated with presidential elections, and examples retaining original organizational and maker's labels are rarer still. Combining bold graphic appeal with exceptional historical documentation, this is an outstanding surviving example from Ohio's determined campaign to "Make Ohio Dry."
Conservation Process: This pennant was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the pennant, it was first washed in a standard wash and then in a dye setting wash. The pennant is positioned behind Optium Museum Acrylic.
Frame: The pennant has been presented in an Italian molding with a broad, flat profile and a satin black finish. Crisp, clean lines and gently beveled inner and outer edges lend the frame a refined, understated appearance that complements the textile without competing for attention.
Condition Report: There is modest, expected wear from age and use, accompanied by scattered soiling and oxidation throughout the felt, particularly along the blue binding and ties. Minor age-related crazing is present in the printed white lettering, with light surface wear elsewhere, while the original organizational label remains intact. Despite this honest wear, the pennant retains outstanding visual impact and displays exceptionally well.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1915
Frame Size (H x L): 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): 34.5” x 31.5”
Jersey Size (H x L): 23.5” x 20.5”
Offered is a sleeveless motorcycle racing vest attributed to Richard “Dick” Gariepy of Barre, Massachusetts, a leading East Coast scrambles rider and the 1962 North American Scrambles Champion. Dating to circa 1962–1963, the vest is made from rayon and is marked with the Italian motorcycle name PARILLA, a large red numeral 1, and silk 49-star American flags sewn to both the front and back. The side shown here is the back of the garment.
The vest was intended to be worn over a long-sleeved shirt, sweater, or other riding apparel. Period photographs show Gariepy and other scrambles riders wearing this general type of sleeveless outer jersey over a contrasting long-sleeved layer. Such garments provided a practical surface for displaying a rider’s number, motorcycle marque, sponsor, or national identity while allowing the clothing underneath to be changed according to weather and track conditions.
The garment closes along the left side with a metal Talon zipper, allowing it to be pulled over other clothing without a center-front opening. Talon was one of the principal American zipper manufacturers of the period, and the metal fastener is consistent with an early-1960s date.
Across the upper back, the name PARILLA is painted by hand in large red letters. Beneath the flag is a similarly hand-painted red numeral 1.
A faint but legible 23 remains visible beneath and around the painted numeral. In person, the number appears as cleaner or less-damaged fabric. This suggests that applied numerals, perhaps adhesive-backed or heat-applied, once covered the textile and protected it from wear and discoloration. After the numerals were removed, their outline remained as a ghost image.
This corresponds with a documented Gariepy racing entry. In the program for the June 22, 1963 Laconia 90-Mile 250cc Road Race, Richard Gariepy of Barre was entered as No. 23 aboard a Parilla. The match among rider, motorcycle, and number is notable. It cannot be proven that the ghosted number on the vest relates specifically to that race, given motorcycle numbers often changed by event and class, but the association is logical. The later painted “1” indicates that the vest was likely renumbered for another competition.
The silk American flags sewn to the front and back each contain 49 stars arranged in seven rows of seven. The flags are machine sewn around their perimeters. The 49-star count has a narrow historical period. Alaska entered the Union on January 3, 1959, and the 49-star flag became official on July 4 of that year. Hawaii entered the Union later in 1959, and the 50-star flag became official on July 4, 1960. The 49-star flag was therefore official for only one year.
The flags do not necessarily date the completed vest to 1959–1960. Small 49-star flags remained available after the official change and could have been incorporated into a garment several years later. The stronger dating evidence is Gariepy’s documented Parilla activity in 1962 and 1963. The vest is therefore most reasonably dated to that period.
Richard Rice Gariepy became an accomplished New England motorcycle racer during the period when American scrambles competition was developing toward what is now generally called motocross. Scrambles combined dirt, natural terrain, elevation changes, and high-speed sections, requiring both speed and control. Gariepy also competed in TT events and road racing.
His most significant season came in 1962, when he raced a 250cc Parilla Wildcat. Period accounts credit him with victories at the Canadian National Championship Scramble, the AMA National TT Motorcycle Scramble Championship at Edgewood, Maryland, and the North-South Challenge. At Edgewood, he won both the 250cc expert-class championship and the overall lightweight-division championship in a field reported to include more than 100 lightweight riders. Together with his Canadian victory, the result established him as the North American Scrambles Champion.
Contemporary Parilla advertising used Gariepy’s championship success to promote the 250cc Wildcat. One advertisement announced “PARILLA WINS NATIONAL CHAMPIONSHIP” and identified him as the North American Scrambles Champion. Period photographs also show Gariepy wearing sleeveless outer racing garments of the same general type as the present vest.
Parilla was founded in Milan, Italy, by Giovanni Parrilla after World War II. The company became known for technically advanced lightweight motorcycles and achieved success in road races and scrambles competitions. The 250cc Wildcat was marketed as a serious lightweight competition motorcycle, and Gariepy’s 1962 victories became an important part of its American advertising.
Gariepy continued racing for decades. His obituary noted that he won back-to-back vintage motorcycle championships in 2011 and 2012 while in his seventies. The present vest dates from the early and most historically significant period of his career.
The combination of the hand-painted Parilla name, changing race numbers, Talon side zipper, paired silk 49-star flags, and Gariepy provenance places the vest within early-1960s American motorcycle competition and Parilla’s brief but successful racing presence in the United States.
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 is a deep-profile moulding with a simple, classical profile, finished in a dark cocoa-brown tone.
Condition Report: The vest exhibits extensive period wear, including overall soiling, discoloration, scattered staining, creasing, and surface abrasion. There are several small holes and losses, particularly near the center and lower portions, along with wear at the neckline, arm openings, seams, and zipper area. As the garment was used as a motorcycle racing jersey, at least some of this wear is likely associated with track use. The painted lettering and numeral remain legible, while the applied flags show minor soiling and localized wear.
Collectability Level: The Good – Perfect for Beginners and Gifts
Date of Origin: 1962-1963
Frame Size (H x L): 10.25” x 7.5”
Flag Size (H x L): 6.5” x 3.5”
Offered is a vertically oriented and highly unusual 42-star American parade flag, printed on open-weave, plain weave cotton and bearing a commemorative overprint for an Ancient Order of United Workmen (A.O.U.W.) Fourth of July picnic held in 1896. The flag displays a distinctly folk quality, with 42 stars arranged in six linear rows of seven stars each. The stars vary noticeably in shape and placement, lending the design a charmingly irregular appearance despite its commercially printed construction.
Adding substantially to the appeal of the present example is the overprinted decoration occupying the center of the striped field. Printed in dark blue ink, the design advertises an “A.O.U.W. Picnic” held on July 4th, 1896. At center is the emblem of the Ancient Order of United Workmen, incorporating a shield, anchor, symbols of fraternity and labor, and radiating lines that emphasize the device in a manner reminiscent of a medal or civic badge. Encircling the emblem is the organization’s Latin motto, “alter alterius auxilio eget,” generally translated as “each needs the help of another.” The phrase succinctly expressed the society’s central principle of mutual aid and collective responsibility.
Founded in 1868 by John Jordan Upchurch, the Ancient Order of United Workmen emerged during a period when commercial life insurance remained beyond the reach of many working Americans. The organization combined social fellowship, civic engagement, and a system of mutual financial protection through which members contributed to a fund providing benefits to the families of deceased brethren. The concept proved enormously successful. By the final decades of the 19th century, the A.O.U.W. had become one of the largest fraternal organizations in the nation and served as a model for many later fraternal insurance societies.
Public gatherings formed an important component of lodge life. Picnics, parades, excursions, and Independence Day celebrations provided opportunities for members and their families to gather while simultaneously promoting the organization’s ideals within the broader community. Textiles such as the present example were produced specifically for such occasions and served as both patriotic decorations and commemorative souvenirs. Their survival rate was naturally low, owing to their lightweight construction and intended use during outdoor festivities.
The 42-star count reflects the admission of Washington as the 42nd state on November 11th, 1889. In accordance with the Flag Act of 1818, the 42-star flag became official on July 4th, 1890. Its official period was exceptionally brief, lasting just one year before the admissions of Idaho and Wyoming resulted in the 44-star flag on July 4th, 1891.
Interestingly, the overprint on the present example is dated July 4th, 1896, several years after the official period of the 42-star flag. While this might initially appear contradictory, such discrepancies are frequently encountered on 19th century parade flags and other commercially printed patriotic textiles. Manufacturers often continued to employ existing printing patterns long after a particular star count had passed from official use, especially on inexpensive souvenir, advertising, and commemorative flags. As a result, it is not unusual to encounter late 19th century examples bearing star counts that predate the event or occasion for which they were produced. In this case, the 1896 overprint provides the most reliable evidence for the date of its event-related production and use.
The combination of a 42-star count, folksy presentation, open-weave cotton construction, and dated fraternal overprint creates an object that exists at the intersection of American flag collecting, social history, and fraternal benefit society history.
Conservation Process: The flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag is in an attractive tiger maple frame. Tiger maple frames are cherished for their striking, wavy grain patterns that shimmer with a unique iridescence, reminiscent of a tiger's coat.
Condition Report: The flag presents with expected wear for its age and lightweight construction, including fraying and small losses along the edges. There is scattered soiling, fading, and surface abrasion throughout, with areas of ink and pigment loss, particularly in the canton.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1896
Number of Stars: 42
Associated State: Washington
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 52” x 67 ¼”
Flag Size (H x L): 39” x 54 ½”
Offered is an exceptional 36-star antique American flag, made entirely of cotton and signed in handsewn thread, “Mother 1864.” Its star configuration is among the most visually arresting 36-star arrangements we have encountered: a large central star, representing Nevada, surrounded by five small stars placed at each of its points, a circular wreath of additional stars, and clusters of four stars in each corner of the canton. The result is dramatic, inventive, and highly personal — less a standardized national emblem than a carefully conceived piece of patriotic art.
The flag is made entirely by hand. The stripes, canton, hoist, and stars are all handsewn, a construction detail that places the object firmly within the world of mid-19th century textile production. Unlike commercially manufactured flags, which increasingly incorporated machine stitching by the Civil War period, this example retains the character of individual domestic manufacture.
The sewing is not merely utilitarian. It is deliberate, intimate, and expressive, culminating in the stitched inscription at the lower hoist: “Mother 1864.” The “M” is rendered in cursive, while the rest of the inscription is worked in small, careful lettering. It is common to encounter antique flags with names, dates, or inscriptions added in ink, paint, or later family notation. It is far more unusual to find a flag signed and dated in sewn thread, integrated into the object itself.
The inscription is one of the flag’s defining features. “Mother 1864” gives the flag both a firm year of manufacture and an unusually direct human connection. The wording strongly suggests that the flag was made by a mother for her family. Given the date, the possibility that it was made for a son or family member serving in the Union cause is compelling, though not provable. What can be said with confidence is that the flag was created in one of the most consequential years in American history, at the height of the Civil War and in the same year Nevada entered the Union. The inscription transforms the flag from a patriotic textile into a personal document. It records not only a national moment, but a private act of making, memory, and devotion.
The stars are single-appliquéd, meaning that each cotton star is sewn to only one side of the canton rather than being doubled on both sides. This method was practical and efficient. It conserved material, reduced the weight of the flag, and allowed the textile to move more easily in the air. In many early and mid-19th century flags, single-appliquéd stars also created a distinctive visual effect when light passed through the fabric. The stars could appear to glow, their forms animated by the contrast between the white cotton and the darker blue field. In this example, the technique is especially effective because of the complex star pattern and the varied scale of the stars. The large center star, medium-sized wreath stars, and smaller point and corner stars create a layered visual rhythm that is both disciplined and exuberant.
The star configuration is extraordinary. At the center of the canton is an oversized star, intended to represent Nevada, the newest state. Around it are five smaller stars, one placed at each tip, giving the central device a radiating, almost celestial quality. A ring of stars surrounds this center group, while four stars are placed in each corner of the canton. This combination of a large central star, surrounding point stars, circular wreath, and corner clusters creates a design that is bold, sophisticated, and unusually imaginative. Many 19th century flag makers used medallion arrangements, but few achieved this level of visual impact. The design is balanced without being mechanical, patriotic without being conventional, and decorative without feeling excessive.
The use of different star sizes adds significantly to the flag’s strength. The large central star immediately commands attention. The smaller stars at its points amplify the central motif, while the wreath creates movement around it. The corner clusters then anchor the composition and prevent the canton from feeling empty or overly centralized. This hierarchy of scale gives the flag a sense of depth and intentionality rarely encountered in flags of this size. It is precisely the sort of star pattern that elevates an already rare object into the highest tier of American flag collecting.
The flag measures approximately 39" x 54 1/2", a highly desirable scale that gives the piece real presence while remaining manageable for display.
The 36-star count places the flag in the period associated with Nevada statehood. Nevada was admitted to the Union on October 31, 1864, during the final year of the Civil War. As was customary, the new star count did not become official until the following Independence Day, July 4, 1865. The 36-star flag therefore became the first official national flag of the reunited postwar United States, remaining official until July 4, 1867, when the 37th star was added for Nebraska. This example is especially important because it is dated 1864, the very year Nevada joined the Union.
Nevada’s admission carried both symbolic and practical importance. The territory’s mineral wealth, especially the silver of the Comstock Lode, was of enormous value to the Union. Politically, Nevada also mattered to Abraham Lincoln and congressional Republicans during the 1864 election. Though sparsely populated, its statehood added electoral support and reinforced the national message that the Union was not only surviving the war, but expanding. The state’s constitution was famously transmitted by telegraph to Washington, D.C., an extraordinary act that underscored the urgency and political significance of its admission. In this context, the addition of a 36th star was not a minor update. It was a declaration that the Union endured.
The year 1864 was one of profound uncertainty and transformation. The Civil War had entered its fourth year. Casualties had mounted on an almost unimaginable scale. Lincoln faced reelection amid war weariness and political division. Yet 1864 also saw decisive movement toward Union victory, including Sherman’s Atlanta Campaign and Lincoln’s reelection in November. A flag made in that year, bearing 36 stars and signed “Mother,” belongs to this charged historical atmosphere. It speaks to the preservation of the Union not as an abstraction, but as something experienced in households, families, and communities.
This is one of the most compelling flags we have handled. Its merits are unusually complete: a desirable size, all-cotton construction, entirely handsewn manufacture, single-appliquéd stars, a spectacular medallion configuration, a large center star for Nevada, and a handsewn inscription that fixes the year and preserves the identity of the maker in the most intimate possible form. The combination is remarkable. Flags of this period are often historically important; fewer are this visually powerful. Fewer still carry such a direct and personal inscription. In both aesthetic and historical terms, this is a grail-level example.
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: The piece is presented in a substantial dark-stained frame with a broad, rounded profile and a beaded inner molding. The finish has deep brown-black tones with subtle reddish undertones and light surface variation, giving it a restrained, period-appropriate presence.
Condition Report: The flag presents beautifully, with expected age toning, scattered staining, minor discoloration, and gentle irregularity from handsewn construction. There are a few small holes that have been carefully masked with matching cotton, allowing them to recede visually while preserving the flag’s overall presentation. The textile retains strong color, excellent graphic impact, and a highly desirable surface appropriate to its age.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1864
Number of Stars: 36
Associated War: Civil War (1861-1865)
Associated State: Nevada
Frame Size (H x L): 35" x 42”
Flag Size (H x L): 24” x 31”
Offered is a forty-four star flag made of cotton. The stars on this flag are arranged in a medallion pattern, one of the most beautiful and desirable patterns in the hobby. This particular medallion has a center star that is surrounded by three concentric rings of stars. The three rings are then surrounded by four flanking corner stars.
Medallion pattern flags date to at least as early as the twenty-six star flag, and at least as late as the forty-eight star flag. The majority of medallion pattern flags, however, date to between 1861 and 1876. During this period, many flag makers would include a center star, surround it with one or more wreaths of stars, and then surround the wreaths with flanking stars (i.e., corner stars). Beginning in the 1890s, the beautiful medallion patterns became less common, and linear arrangements became the norm. Why this occurred is unclear, as flag makers had the freedom to place the stars however they liked until 1912, when President Taft issued Executive Order 1556 establishing the arrangement of the stars into rectilinear rows.
The forty-four star flag represents the inclusion of Wyoming to the Union. Wyoming was admitted on July 10th, 1890, and this flag became official on July 4th, 1891. Presidents Benjamin Harrison and Grover Cleveland served under this flag.
In 1889, Congress considered adding the Dakota Territory as a single state. What happened, however, was that the Dakota Territory was split it into two states: North Dakota and South Dakota, and they were both admitted on November 2nd, 1889. Soon thereafter, on November 8th, 1889, Montana was admitted as the forty-first state, and on November 11th, 1889, Washington was admitted as the forty-second. When Congress went on break, flag makers began producing anticipatory forty-two star flags for the following July 4th, 1890.
To the surprise of many, on July 3rd, 1890—just one day before the forty-two star flag was going to be official—Congress admitted Idaho as the forty-third state. As a result, the forty-two star flag never became official, but the forty-three star did. Just a few days later, on July 10th, 1890, Congress admitted Wyoming as the forty-fourth state. As a result of this rapid succession of state admissions, flag makers made large quantities of unofficial forty-two star flags and official forty-four star flags, but hardly any forty-three star flags (despite it being an official star count).
The forty-four star flag is relatively rare when compared to, for example, the forty-five star flag, as a result of it being used after the Centennial, but before the Spanish American War. The forty-four star flag was the official flag for five years up until July 4th, 1896, the time at which the forty-five star flag became official and began to represent the inclusion of Utah in the Union.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: Housed in a wide, black-painted molded frame with a deep cove profile and stepped inner and outer edges. Subtle reddish-brown undertones in the grooves give the frame warmth and an antique-style character while maintaining a clean, formal presentation.
Condition Report: The flag presents well overall, with strong color and a legible medallion star pattern. There is age-appropriate toning and surface soiling throughout, most visible in the white stripes, along with several scattered brown stains, including examples near the upper fly, upper center, and lower hoist.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1890-1896
Number of Stars: 44
Associated War: The Indian Wars (1860-1890)
Associated State: Wyoming
Frame Size (H x L): 37.5” x 52”
Flag Size (H x L): 27” x 41”
Offered is a 13-star American yacht ensign, made by Annin & Co. and bearing the firm's “Sterling” trademark, produced between 1913 and 1926. Constructed of wool bunting with cotton-appliqued stars and anchor, the flag represents an early 20th century example of one of America's most recognizable maritime signals. It was intended for active use aboard a pleasure craft and survives with its original brass grommets and maker's mark intact.
The canton is made of dark navy wool bunting and displays a fouled anchor surrounded by a wreath of thirteen stars. Both the stars and anchor are fashioned from cotton and are applied with zig-zag machine stitching. The red and white stripes are made of wool bunting and joined with machine stitching throughout. The hoist is bound in a heavy plain-weave cotton heading fitted with brass grommets. Along the hoist appears a tag stating the following:
STERLING
REG. U.S. PAT. OFF.
ALL WOOL DOUBLE WARP
BUNTING
“Sterling” was a trademark of Annin, America's oldest and longest-operating flag manufacturer. The trademark was formally registered for bunting in 1913. A July 5th, 1913 trade publication notice records that “Annin Co., New York, N.Y.” had been granted registration of the word “Sterling” as a trademark for bunting. By 1917 the trademark was appearing in national advertising, and by the early 1920's Annin was actively promoting Sterling as its premium grade of all-wool bunting. The presence of the Sterling mark establishes a firm earliest possible date of 1913, while the overall construction and materials suggest manufacture during the period extending through the mid-1920's.
Founded in New York City in 1847, Annin is recognized as the nation's oldest flag manufacturer and remains in operation today. The company supplied flags for military, governmental, maritime, commercial, and patriotic use throughout the nineteenth and twentieth centuries, earning a reputation for quality construction and innovation in flag-making. During the early twentieth century, Annin expanded significantly, establishing a major manufacturing facility in Verona, New Jersey, while maintaining offices and production operations in New York. The firm's products were widely distributed throughout the United States, and its branded lines, such as Sterling, reflected a commitment to producing premium-grade flags for demanding outdoor service.
The yacht ensign occupies a unique place in American maritime history. Although often mistaken for a naval flag, it was developed for civilian recreational vessels. The design combines the familiar thirteen-star arrangement associated with America's earliest national flags with a fouled anchor, the traditional symbol of maritime service and seamanship. The thirteen stars reference the original colonies and the nation's founding era, while the anchor communicates a connection to navigation, commerce, and life at sea.
The origins of the yacht ensign date to the nineteenth century and are tied to the growing popularity of recreational boating among America's expanding middle and upper classes. In 1848 Congress granted vessels enrolled in qualifying yacht clubs the privilege of flying a distinctive ensign featuring a fouled anchor within the canton. The purpose was practical as well as symbolic. The special ensign identified pleasure craft that were exempt from certain customs inspections and distinguished privately owned yachts from commercial vessels. As boating culture expanded during the late nineteenth and early twentieth centuries, the yacht ensign became one of the most familiar and enduring symbols of American recreational sailing.
By the turn of the twentieth century, yacht ensigns were widely available through commercial makers such as Annin, who produced examples in a variety of sizes for use aboard everything from small launches to substantial sailing yachts. Examples intended for active service were typically constructed of wool bunting, then considered the preferred material for outdoor flags because of its strength, relatively light weight, and ability to shed wind. Cotton elements were commonly used for appliqued devices and stars, while reinforced cotton headings and brass grommets provided durability at the point of greatest stress.
The present example displays all of the characteristics collectors associate with quality commercial manufacture during the period. The wool bunting remains attractive in color, the cotton anchor and stars are crisply executed, and the heavy plain-weave cotton heading reflects a higher-grade construction than the lighter twill bindings often encountered on lesser examples. Particularly noteworthy is the Sterling trademark, which links the flag to Annin's premium wool bunting line and provides a useful point of reference for dating.
Today, antique yacht ensigns are collected both for their maritime associations and for their visual appeal. The combination of the fouled anchor and thirteen-star configuration creates one of the most distinctive flag designs employed in the United States. Their connection to America's boating traditions, combined with the symbolism of the nation's founding era, makes them equally at home in collections focused on maritime history, early American symbolism, patriotic textiles, or decorative Americana.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The frame is a dark-stained hardwood molding with a clean square profile and subtle variations in grain and tone that lend warmth and visual depth.
Condition Report: There is minor soiling and scattered small dark stains in limited areas, accompanied by a few tiny losses and areas of wear consistent with age and use. A small pink stain is present on the cotton hoist. The colors remain vibrant, the wool bunting retains strong integrity, and the flag presents beautifully overall. The brass grommets, Sterling maker's mark, and all primary design elements remain intact.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1913-1926
Number of Stars: 13
Associated War: World War I (1914-1918)
Associated State: Original 13 Colonies
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
Frame Size (H x L): 14.5” x 17.5”
Flag Size (H x L): 6.5” x 9.75”
Offered is a 35-star American national flag, printed on glazed cotton and dating to the height of the Civil War. The stars are arranged in a striking medallion configuration that is among the most visually compelling of all 19th century parade flag designs. At the center of the canton is a large “center star,” canted toward the 11:00 position, representing the newest state admitted to the Union: West Virginia. Encircling the center star are two concentric wreaths of smaller stars, while four additional stars occupy the corners of the canton, framing the design in balanced and highly decorative fashion.
The stars themselves possess an especially memorable appearance. Sharp, elongated points and irregular, hand-drawn geometry lend them a distinctly folksy character, while their tight arrangement within the canton creates a sense of movement and energy uncommon among printed parade flags of the period. Though the maker of this particular example remains unidentified, the unusual star shapes and overall presentation are associated with a very small and recognizable family of flags believed to have originated from the same workshop. Flags of this style are known in just six star counts: 7-star, 13-star, 15-star, 29-star, 33-star, and 35-star varieties.
Each appears to have been produced to commemorate a specific historical milestone or patriotic theme. The 7-star examples celebrated the first seven Southern states to secede from the Union. The 13-star versions paid homage to the original colonies. The 15-star flags were likely produced in conjunction with the centennial celebration of Kentucky statehood. The 29-star, 33-star, and 35-star examples marked the admission of Iowa, Oregon, and West Virginia, respectively, with the oversized center star serving as a visual tribute to the newest state represented on the flag. Among all known examples from this maker, the 35-star variety is by far the rarest. Surviving examples are exceptionally limited, with perhaps fewer than ten presently known.
The 35-star flag officially represents the admission of West Virginia to the Union on June 20th, 1863. In one of the most extraordinary episodes in American political history, West Virginia was formed amid the turmoil of the Civil War itself. Following Virginia’s decision to secede from the Union in 1861, delegates from the northwestern counties opposed the move and established a separate pro-Union government. After a complicated legal and political process, the new state of West Virginia was admitted to the Union under President Abraham Lincoln, becoming the only state created directly out of a Confederate state during the war.
Under the Flag Act of 1818, newly admitted states were officially recognized on the national flag on the July 4th following admission. As a result, the 35-star flag became official on July 4th, 1863, less than two weeks after West Virginia entered the Union. It remained official until July 3rd, 1865, when the 36-star flag succeeded it following Nevada statehood. Because of this narrow official window—approximately two years—and because massive quantities of patriotic textiles had already been produced in 1861 and 1862 at the outbreak of the war, comparatively few 35-star flags were made.
The 35-star count occupies a singular place in American vexillological history. It is the only official star count both added and used entirely during the Civil War itself. As such, 35-star flags hold a special fascination for collectors, combining direct wartime association with great rarity and one of the most attractive medallion configurations encountered in 19th century American flag-making.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag has been placed in an American flame grain painted frame, dating to 1840. The surface displays strong faux-grained decoration with rich tonal variation and a warm, aged patina that pairs well with the Civil War-era textile.
Condition Report: The flag shows moderate to significant wear consistent with its Civil War period origin and use. Most notable is a band of brown discoloration along the fly end, concentrated primarily within the white stripes, likely the result of long-term storage while rolled, where the exposed outer surface absorbed environmental staining over time. There is minor scattered foxing and soiling throughout, accompanied by modest fabric breakdown and edge fraying, all of which contribute to the flag’s authentic early appearance and character.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1863-1865
Number of Stars: 35
Associated War: Civil War (1861-1865)
Associated State: West Virginia
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
Frame Size (H x L): 17” x 17”
Textile Size (H x L): 1.5” x 3.5”
Offered is a rare “Votes for Women” ribbon. The field is yellow, and the verbiage is in all black caps. Yellow was the primary color in the women’s suffrage movement in the US, and was combined with various other colors, though in most instances was combined with black. In England, violet and green were the primary colors.
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.
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 read as follows:
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 ribbon 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 ribbon, it was first washed in a standard wash and then in a dye setting wash. The ribbon is positioned behind Optium Museum Acrylic.
Frame: The frame dates to approximately 1890. It is multi-tiered and made of mahogany, oak, and maple. It is a frame of the highest quality.
Condition Report: This ribbon is in excellent condition.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1913-1920
Frame Size (H x L): 33” x 32”
Flag Size (H x L): 22.5” x 21”
Offered is a rare and visually compelling 38-star American flag bandanna, produced in silk and rendered in the form of the Stars & Stripes, with the printed flag itself inset within a larger square field. The format possesses exceptional visual balance, with broad margins surrounding the printed design that reinforce its presentation as both a textile and a patriotic object. Two horizontal seams and two vertical seams, all machine-sewn, join the silk panels together, lending the piece a distinctly period method of construction and underscoring its manufacture during the late 19th century.
The star configuration is among the bandanna’s most memorable and attractive features. At its center is a large, canted star representing Colorado, the newest state admitted to the Union at the time the design originated. This oversized center star is encircled by a wreath of eleven smaller stars, creating a medallion-like presentation. Flanking this central device are four additional stars, while linear groupings of stars to the left and right create the impression of enclosing brackets or a squared framework around the central medallion. The arrangement is highly unusual and visually dynamic, balancing formal structure with folk-like irregularity. The stars are canted in various directions rather than mechanically aligned, and their forms vary subtly in proportion and execution, adding both movement and charm. Such variation is highly desirable among collectors, as it reflects the more artistic and less standardized production methods of the period.
The canton is paired with bold red stripes that have mellowed beautifully over time, taking on the warm orange-red cast often encountered in 19th century textiles. This transformation is especially attractive here, contrasting wonderfully against the soft blue canton and creamy silk ground. The resulting palette is considerably more nuanced than the stark primary coloration associated with later printed flags and contributes substantially to the textile’s visual appeal.
This exact variety is illustrated as item number 637 in Threads of History: Americana Recorded on Cloth, 1775 to the Present, the landmark exhibition catalogue produced in association with the Smithsonian Institution. For collectors unfamiliar with the publication, Threads of History is widely regarded as one of the most important references ever produced on American political textiles, parade flags, kerchiefs, and related patriotic cloth objects. Compiled by Herbert Ridgeway Collins and published in conjunction with the Smithsonian’s major bicentennial-era exhibition, the work documented some of the finest and most historically significant textiles known at the time. Inclusion within its pages represents an important point of scholarly recognition.
The catalogue notes that this bandanna was “used in the political campaign of 1888,” and another closely related example is illustrated nearby as item number 636. That counterpart employs a different flag and star configuration, yet shares the same general format, dimensions, and construction, suggesting that the two likely originated from the same manufacturer or workshop. The relationship between the two textiles provides an especially interesting glimpse into the diversity of patriotic printed goods produced during the period. Rather than relying upon a single standardized design, makers experimented with varying star arrangements and visual compositions while maintaining the same overall concept and scale.
The proposed 1888 campaign association places this textile within one of the more contentious presidential elections of the late 19th century. The election pitted incumbent President Grover Cleveland, the Democrat, against Republican challenger Benjamin Harrison. Tariff policy emerged as the defining issue of the campaign, with Cleveland advocating lower tariffs and Harrison supporting protective measures intended to bolster American industry. Although Cleveland won the national popular vote, Harrison secured victory in the Electoral College. The campaign unfolded during a period of rapid industrialization, expanding rail networks, and growing national identity, conditions that fueled demand for patriotic imagery and political textiles alike. Objects such as this bandanna occupied a unique space between political memorabilia and decorative Americana, serving both as expressions of patriotism and as tangible artifacts of campaign culture.
Its square proportions are particularly appealing. Unlike many parade flags and kerchiefs that feel visually elongated, this example possesses a balanced, almost architectural presentation that allows the star configuration to command attention without overwhelming the striped field. The inset format further heightens this effect, creating a framed composition within the textile itself. Combined with the medallion-style arrangement of stars, the result is exceptionally graphic and immediately recognizable from across a room.
The 38-star count on this flag reflects Colorado’s admission to the Union on August 1st, 1876. Known as the “Centennial State,” Colorado earned its nickname for achieving statehood just twenty-eight days after the nation’s centennial celebrations. Colorado’s path to statehood began with the establishment of the Colorado Territory in 1861, spurred by the Pike’s Peak Gold Rush, which brought a dramatic influx of settlers to the region. Early efforts toward statehood met setbacks, including a veto by President Andrew Johnson in the 1860s, but renewed momentum in the mid-1870s ultimately culminated in Colorado’s official admission as the nation’s 38th state.
Although the 38-star flag did not become official until July 4th, 1877, flag makers frequently produced anticipatory examples ahead of official adoption. These flags played a major role during the Centennial celebrations of 1876, alongside revival designs featuring 13 stars in homage to the original colonies. The Centennial year proved to be a defining moment in American visual culture, fostering renewed patriotism and unity following the divisions of the Civil War. Homes, businesses, parade grounds, and public buildings were adorned with red, white, and blue decoration, and flags became the centerpiece of this widespread national expression.
The Centennial International Exposition in Philadelphia served as the focal point of these celebrations, attracting nearly ten million visitors between May and November of 1876. The exposition showcased American innovation on a grand scale, introducing many visitors to technological marvels such as Alexander Graham Bell’s telephone and the enormous Corliss Steam Engine. Within this atmosphere of patriotic enthusiasm and industrial optimism, the production of decorative flag textiles flourished.
The 38-star flag officially served from July 4th, 1877, until July 4th, 1890, spanning the administrations of Presidents Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. It represented a nation undergoing dramatic transformation through westward expansion, mining booms, railroad construction, and accelerating industrial growth. In 1890, the admission of North Dakota, South Dakota, Montana, Washington, and Idaho necessitated adoption of the 43-star flag, bringing the 38-star era to a close. Today, surviving textiles from this period remain especially prized among collectors for their inventive medallion configurations, strong folk qualities, and close association with the Centennial era, one of the most visually dynamic and patriotic periods in American flag history.
Conservation Process: This bandanna was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the bandanna, it was first washed in a standard wash and then in a dye setting wash. The bandanna is positioned behind Optium Museum Acrylic.
Frame: This offering is in our Large Distressed Gold Frame.
Condition Report: The silk exhibits modest to moderate age-related wear, accompanied by minor soiling, scattered pigment loss, and areas of thinning consistent with the textile’s age and delicate nature. There is gentle creasing throughout, accompanied by minor irregularities along the edges and at the seams. The printed coloration has softened beautifully over time, with the red pigments mellowing to an especially attractive orange-red tone. Overall, the bandanna presents exceptionally well, with strong visual impact and remarkable survivability for a late 19th century silk textile.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1888
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Frame Size (H x L): 28.5” x 13”
Flag Size (H x L): 4” x 5.75”
Offered is a rare and engaging group of four mid-20th century rowing pennants, produced for competition at Eton College and dating from 1948 through 1951. Hand-lettered on fabric and originally mounted to small staffs, these flags document the progress of a single oarsman—identified throughout as “D. Cole”—within one of the most tradition-rich athletic systems in the world.
Founded in 1440 by King Henry VI, Eton College stands among the most storied educational institutions globally. Though termed a “public school” in England, it is in fact an elite, all-boys boarding school, long associated with Britain’s political and cultural leadership. For American audiences, it may be best understood as a hybrid of a top preparatory academy and a historic institution of national identity. Its traditions are both preserved and performed—uniforms, ceremonies, and hierarchies remaining largely intact across centuries. Its alumni include numerous British prime ministers, among them Boris Johnson and David Cameron, as well as literary figures such as George Orwell.
Rowing occupies a central place within this culture. Situated along the River Thames, Eton developed one of the most competitive and structured schoolboy rowing programs in existence. Under the auspices of the Eton College Boat Club, students are organized into multiple crews by age, experience, and ability, competing both internally and in prestigious external events such as the Henley Royal Regatta. Advancement through these crews is a defining aspect of student life, reflecting discipline, endurance, and status within the school.
The present group captures this progression in tangible form. Each flag records a specific race, division, and outcome, offering a concise but remarkably vivid record of participation:
The earliest example, dated 1948, is inscribed “Lower Boy Pulling, 3rd in Final,” and lists the full crew by position, including bow, stroke, and coxswain. In rowing terms, “Lower Boy” denotes a younger division, indicating early participation. The fabric is a natural, undyed tone, with hand-painted lettering in a pale gold or cream pigment, and a roughly finished edge that suggests utilitarian production.
The 1949 flag, labeled “Novice Eights,” reflects the next stage. An “eight” refers to a boat crewed by eight rowers plus a coxswain, and “novice” indicates limited prior experience. The large letter “D” identifies the specific crew within the broader field—Eton commonly designates its multiple boats alphabetically. Again, the crew placed third in the final, and D. Cole appears in seat five, a central rowing position.
By 1950, the inscription reads “Lower Eights, Senior Division, C Crew.” This indicates advancement into a more competitive grouping, with “Senior Division” suggesting increased experience and performance level. The flag retains the same general format—hand-lettered text on a plain fabric ground—but shows slightly deeper coloration, likely from age or variation in material.
The final example, dated 1951, is the most visually distinctive. Titled “Eton College Scratch Heavy Fours,” it refers to a four-man boat assembled for a specific event (“scratch” meaning not a fixed crew). The two-tone coloration—light above and a reddish lower field—may relate to crew or event designation. Unlike the others, this flag records a victory: “Won by 2 Lengths.” It also references “Eton Mission R.C.,” a charitable rowing initiative associated with the school’s outreach efforts in London. The full crew is again listed, with D. Cole returning to the bow position.
Across all four examples, the consistent presence of D. Cole allows the group to be understood not merely as isolated artifacts, but as a cohesive record of athletic development over time—moving from junior to more advanced divisions within a highly structured system.
Taken together, these pennants offer a compelling intersection of sport, education, and social history. They speak to the traditions of Eton College, the discipline of competitive rowing, and the personal narrative of a student progressing through both. At once modest in scale and rich in context, they represent the sort of “gentleman’s antique” that resonates through association—where institution, tradition, and lived experience converge in a quietly meaningful way.
Conservation Process: The flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The frame features a broad, flat face with a clean, squared profile and a gently stepped inner rabbet, finished in a deep walnut tone.
Condition Report: The 1948 example shows moderate fraying along the hoist edge, with minor scattered staining and light surface soiling, consistent with use. The 1949 flag exhibits similar edge wear, along with areas of discoloration and toning to the fabric, particularly toward the right side. The 1950 example presents with more pronounced overall toning and light surface wear, though the lettering remains clear and legible. The 1951 pennant, the most visually distinctive, shows expected wear at the edges and some color variation and minor staining, particularly along the upper right, consistent with age and handling.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1948-1951
Frame Size (H x L): 16.75” x 22”
Flag Size (H x L): 9” x 14”
Offered is a 38-star American parade flag, printed on glazed cotton and overprinted for MEMORIAL DAY with a secondary, stamped overprint, referencing Stannard Post No. 2 of the Grand Army of the Republic (G.A.R.), dated 1884.
The canton displays a 7-6-6-6-6-7 star configuration, with stars arranged in generally linear rows and canted in varying directions, lending a lively, almost animated quality to the field. The stripes present in a particularly attractive orange-red tone, a result of period pigments and printing techniques, and provide strong visual contrast against the blue canton. Across the striped field appears the boldly applied, all-capital MEMORIAL DAY overprint, printed at a slight angle. The typography is somewhat crude, yet visually compelling, with additional text reading “Stannard Post No. 2 G.A.R.” and the date “1884,” offering the rare advantage of a clearly documented moment of use. This is the first example of this specific overprint and flag that we have encountered.
The presence of the MEMORIAL DAY overprint, combined with the identification of Stannard Post No. 2, firmly anchors this flag within the culture of Civil War remembrance. The Grand Army of the Republic, founded in 1866, was the leading fraternal organization of Union veterans, and its posts were deeply involved in the establishment and perpetuation of Memorial Day observances across the United States. These events were among the most important civic rituals of the late 19th century, involving parades, cemetery ceremonies, speeches, and the decoration of soldiers’ graves. Flags such as this were produced for precisely these occasions, often in limited quantities and for local use, which contributes to their rarity today.
Stannard Post No. 2 was located in Burlington, Vermont, and was named in honor of General George Jerrison Stannard, a Union officer best known for his leadership at the Battle of Gettysburg. The identification of a specific G.A.R. post is particularly desirable, as it ties the object to a defined community of veterans and a known geographic location. Unlike generic patriotic flags, this example was created for a specific group and event, elevating both its historical and interpretive value.
Of further interest is documentary evidence connecting the post to its membership. Period records, including the obituary of Leander W. Freeman, identify him as a member of Stannard Post No. 2. Freeman, an African American veteran who served in Company F of the 54th Massachusetts Colored Volunteers, represents an important and often underrepresented dimension of G.A.R. membership. His presence within the post underscores the degree to which African American veterans participated in these organizations and in Memorial Day observances, particularly in Northern communities. While it cannot be said that this flag was directly associated with Freeman himself, the documented connection between the post and one of its members adds a meaningful layer of human context and historical depth.
The 38 stars on this flag represent Colorado’s admission to the Union on August 1st, 1876. Known as the “Centennial State,” Colorado achieved statehood just 28 days after the nation’s 100th anniversary. Although the 38-star flag did not become official until July 4th, 1877, it remained in use through July 3rd, 1890, spanning a period of westward expansion, industrial growth, and national consolidation following the Civil War. By the date of this flag’s overprint—1884—the star count was fully official and widely produced, placing this example firmly within its proper historical context rather than among earlier anticipatory issues made for the Centennial.
The printing method and material further support an 1880s date. The use of glazed cotton, along with printed application of color, is consistent with parade flags of the period. The slightly irregular saturation of the pigments, especially in the stripes, contributes to the warm, almost burnished appearance that clients find particularly appealing. The overprint reflects the practical realities of such commemorative objects—standard flags customized for local events through secondary application.
Flags with specific Memorial Day overprints tied to named G.A.R. posts are rare, particularly those bearing a clear and early date. The combination of a desirable 38-star count, strong visual presentation, documented year of use, and direct association with a Grand Army post in Burlington makes this an especially compelling example. It stands not only as a patriotic object, but as a tangible artifact of post-war remembrance, community and identity.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag is housed in a handsome antique frame of birdseye maple, displaying dense, highly figured grain with warm, honeyed tones typical of 19th-century examples, likely dating to the mid- to late-1800s. A narrow gilded liner provides a refined inner border. The surface exhibits a naturally aged patina consistent with its period, enhancing its depth and character.
Condition Report: The flag shows moderate overall wear consistent with age and use, including scattered foxing, minor staining, and areas of pigment loss, particularly within the overprint and along the stripes. There is a vertical fold line through the center with associated light fabric breakdown, accompanied by minor fraying and edge wear along the perimeter. Despite these condition issues, the fabric remains stable, with strong visual presentation and legibility of both the star field and the MEMORIAL DAY overprint.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1884
Number of Stars: 38
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 13” x 16.5”
Flag Size (H x L): 6.5” x 10”
Offered is a rare and visually striking 38-star American flag trade flag, produced in the Centennial era and featuring an extensive advertising overprint for “CENTENNIAL JAVA COFFEE.” Printed on paper in an unusually large format measuring approximately 6.5 by 10 inches—roughly double the size of most surviving trade cards—this example occupies a compelling space between traditional advertising ephemera and a hand-held parade flag.
The canton displays a highly graphic and well-balanced medallion configuration, composed of a single, oversized center star surrounded by two concentric rings of smaller stars, with four additional flanking stars completing the count of thirty-eight. The inner ring contains 12 stars, while the outer ring presents 21, forming a bold and symmetrical arrangement that is both visually dynamic and carefully structured. The large center star serves as a strong focal point within the design and may be interpreted as an intentional visual emphasis on Colorado, the 38th state.
The overprint is exceptional in both scale and execution. Spanning the stripes in varying typefaces, it reads: “I DRINK CENTENNIAL JAVA COFFEE, THE BEST COFFEE IN THE WORLD. ONE POUND WILL GO AS FAR AS TWO OF ANY OTHER. ASK YOUR GROCER FOR IT.” The typography shifts from line to line, creating a layered and energetic visual rhythm that enhances the overall composition. Along the hoist, a vertical block of text further promotes the quality of the product, while an additional vertical instruction—directed to mothers—encourages the mounting of the flag on a stick for children to wave. This directive provides clear evidence that the piece was intended for active use as a hand-held display, rather than passive advertising alone.
The coloration is equally noteworthy. The red stripes, rendered in a distinctly orange-red tone, provide vivid contrast against the blue canton and contribute to the flag’s strong visual presence. Combined with the bold overprint and varied typography, the result is an unusually lively and engaging piece of printed Americana.
The broader context of this object is further enriched by period concerns surrounding the quality and purity of coffee. Late 19th-century reports on food adulteration reveal that a significant portion of commercially available ground coffee was diluted with roasted grains, legumes, and chicory. Within this environment, claims such as “ONE POUND WILL GO AS FAR AS TWO OF ANY OTHER” take on added meaning, functioning not merely as advertising rhetoric but as a direct appeal to consumers wary of inferior or adulterated products. Contemporary documentation even records “CENTENNIAL JAVA” among branded coffees in circulation, reinforcing the authenticity of the marketing language employed here.
The convergence of Centennial-era patriotism with commercial promotion is executed at an unusually high level in this 38-star example, both graphically and conceptually. Its large format, dynamic medallion star configuration, extensive overprint, and clear evidence of intended use as a parade flag combine to set it apart from more typical trade cards. Examples of this scale and visual impact are seldom encountered, and this is the first of this specific design that we have handled. Simply put, it ranks among the most compelling and visually engaging 19th-century American flag trade flags to surface.
The 38 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 28 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 38th state following Congress’s passage of an enabling act.
Although the 38-star flag did not become official until July 4th, 1877, flag makers frequently produced anticipatory examples 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 38-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 43- star flag replaced the 38-star version. Despite its relatively short tenure, the 38-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.
Frame: Housed in a beautiful American frame dating to circa 1840, crafted in hand-painted faux bois to simulate richly grained, knotty light mahogany. The surface displays exceptional graining with a warm, nuanced finish that complements the flag without overpowering it. The profile and early construction lend an appropriate sense of age and authenticity, enhancing the overall presentation.
Condition Report: The flag has been professionally conserved by a paper conservator, resulting in stable overall condition. There is moderate, even toning to the paper, accompanied by scattered foxing and minor surface soiling consistent with age. Evidence of prior handling is present in the form of minor edge wear, none of which detracts from the strong visual presentation. The printed imagery and overprint remain bold and highly legible throughout.
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1860-1890
Associated War: The Indian Wars (1860-1890)
Frame Size (H x L): 33.5” x 24.75”
Overalls Size (H x L): 12” x 23”
Offered is a pair of antique children’s denim overalls produced under the “Look Out” brand and constructed of Cone “Deeptone” denim, dating to approximately the 1930s–1940s. The surviving cloth label on the bib pocket reads “LOOK OUT – Made of Cone Deeptone Denim,” identifying both the brand name and the textile source. Cone Mills of Greensboro, North Carolina, was the most influential American manufacturer of denim during the twentieth century, supplying fabric to many of the country’s best-known workwear companies. Garments bearing references to Cone denim reflect the widespread reliance on this durable indigo cloth in the manufacture of utilitarian clothing intended for both labor and everyday wear.
The overall style reflects classic early twentieth-century American workwear construction, scaled for children. The garment features a traditional bib front with shoulder straps secured by metal hook fasteners, a configuration commonly used on bib overalls prior to the widespread adoption of later adjustable clasp systems. The bib includes a central pocket with a flap closure and button, beneath which the “Look Out” label is sewn. Two additional front pockets appear at the waist, with reinforcement stitching at points of stress. The legs are cut wide in the manner typical of period work garments, allowing freedom of movement for active wear.
Children’s overalls of this type were widely worn throughout the United States during the early twentieth century. They served both practical and economical purposes, providing a durable outer garment that protected clothing beneath while allowing children to participate in farm work, chores, and play. Denim overalls became a particularly common sight in rural communities and small towns, where sturdy garments were essential and clothing was expected to withstand heavy use. The association between overalls and childhood in America during the 1930s and 1940s is well documented in photographs, advertisements, and mail-order catalogs from the period.
The use of Cone “Deeptone” denim reflects the emphasis placed on durability and colorfastness in workwear fabrics of the era. Cone Mills developed several branded denim lines to promote the quality of its indigo-dyed cloth, and the “Deeptone” designation referred to the deep coloration achieved through repeated indigo dyeing of the warp yarns. This process produced denim that aged attractively with wear, gradually developing lighter areas and soft contrasts where the fabric was repeatedly flexed or abraded.
Surviving examples such as this illustrate the durable clothing commonly worn by American children during the first half of the twentieth century and reflect the widespread use of Cone Mills denim in garments intended for everyday wear.
Conservation Process: The overalls 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 overalls, the cotton was first washed in a standard wash and then in a dye setting wash. The overalls are positioned behind Optium Museum Acrylic.
Frame: The frame has a relatively flat profile with a matte black finish. The surface shows intentional distressing with subtle texture and light variation in the finish, giving it a restrained, aged appearance.
Condition Report: The overalls show honest wear consistent with age and use, including areas of fading, light fraying, and minor scattered wear to the denim. The metal hardware shows oxidation and age, while the fabric exhibits attractive, natural distressing throughout. Overall, the garment presents very well, with the kind of authentic wear that collectors appreciate in early denim workwear.
Collectability Level: The Good – Perfect for Beginners and Gifts
Date of Origin: 1930-1949
Frame Size (H x L): 6.5” x 8.5”
Flag Size (H x L): 2.75” x 5”
Offered is a 37-star American flag trade card, printed on paper and featuring an advertising overprint for J. Jay Gould’s Picture Store of Boston. Patriotic trade cards were widely produced in the late 19th century, but examples that combine an early star count with unusual graphic treatment and integrated advertising are less often encountered.
The star pattern is one of the more distinctive features. Arranged in a medallion formation with no outlying corner stars, the design departs from more typical linear or grid-based configurations. The stars themselves are also unusual. Rather than rounded or conventionally pointed forms, they have sharp, irregular points that give them an almost bursting appearance. The result is a more animated and expressive design than is usually seen in small printed flags of the period.
The placement of the advertising text is equally noteworthy. The overprint appears within the red stripes, executed in white lettering. In most known examples of overprinted patriotic paper items, text is placed in the white stripes for clarity and contrast. Here, the choice to print within the red required more careful registration and produced a more integrated effect, with the advertising functioning as part of the overall flag design rather than as a separate layer added afterward. This is an uncommon feature and one of the card’s most interesting visual characteristics.
The contents of the overprint offer insight into both the business itself and the consumer culture of the period. The text advertises “beautifully colored scrap-book pictures,” with catalogues offered free, and promotes a broad assortment of decorative and novelty goods. Among the subjects mentioned are bouquets, children in fancy costumes, comic scenes, animals, butterflies, and motto subjects for scrapbooks and letter paper. References to stereoscopic views and colored engravings reflect the strong demand for affordable visual material in the years after the Civil War, while the mention of frames made to order and “fancy colored mats” suggests that the shop also served customers interested in the display of images in the home. Other items, including albums, photographs, passe-partouts, picture cords, and ornamental paper goods, further indicate a business centered on the sale of inexpensive, attractive, mass-produced imagery and related decorative materials. Taken together, the overprint reads almost like a condensed catalogue of popular visual culture in the period.
The advertisement identifies J. Jay Gould’s Picture Store at 20 Bromfield Street and 120 Dudley Street in Boston. The presence of two addresses suggests an established retail operation serving different parts of the city, and the specificity of the imprint is useful both historically and for dating purposes. Trade cards such as this were intended to advertise, but they were also meant to be kept. Their small format, colorful presentation, and novelty value made them ideal for retention in albums and scrapbooks, which helps explain why surviving examples remain of interest today.
From a collecting standpoint, the piece sits at the intersection of early American flags and 19th-century advertising ephemera. The unusual star shapes, medallion configuration, and red-stripe overprint distinguish it from more standard examples, while its small format reflects its original purpose as a portable promotional item.
The 37-star count corresponds to Nebraska’s admission as the 37th state on March 1, 1867. The official 37-star flag remained in use from July 4, 1867 through July 3, 1877, placing this card within the Reconstruction era and into the years leading up to the 1876 Centennial, when patriotic imagery was widely employed in both civic and commercial settings. The star count therefore provides a clear historical framework for the piece.
Overall, this is a strong example of late 19th-century patriotic advertising, made more interesting by several features not commonly encountered in combination. The unusual medallion star pattern, the sharply stylized stars, the placement of the overprint in the red stripes, and the specific connection to a Boston picture store all contribute to its appeal. It is a compact but layered object that brings together graphic interest, historical context, and crossover value for collectors of both flags and advertising ephemera.
Frame: The card is housed in an antique frame with a lemon gold finish, characterized by a soft, pale gilt tone with a gentle luster. The finish is consistent with mid- to late-19th century gilt frames, circa 1850–1880, and presents a refined, understated appearance typical of the period.
Condition Report: The trade card has been professionally conserved by a paper conservator. There is expected light toning and minor wear consistent with age and handling, but the surface remains stable and well-preserved. Any prior issues have been addressed through conservation, allowing the piece to present cleanly while retaining appropriate signs of age.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1867-1876
Number of Stars: 37
Associated War: The Indian Wars (1860-1890)
Associated State: Nebraska
Frame Size (H x L): 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): 38” x 48”
Flag Size (H x L): 21” x 35”
Offered is a 13-star antique American flag in the 3-2-3-2-3 configuration, constructed of wool bunting with double-appliquéd cotton stars and dating to approximately 1895–1926.
The star arrangement consists of three stars in the first row, two in the second, three in the third, two in the fourth, and three in the fifth. Visually, this produces a diamond-shaped core framed by four corner stars. The configuration is commonly associated with Francis Hopkinson and is often referred to as the “Hopkinson pattern.” While no surviving example can be definitively linked to the first national flag, many historians attribute the original design of the American flag to Hopkinson, a member of the Continental Congress and a signer of the Declaration of Independence.
Hopkinson submitted a formal petition to the Continental Congress requesting compensation for having furnished the design of “the flag of the United States of America.” He initially asked to be paid with a quarter cask of public wine and later requested monetary compensation. Although Congress acknowledged his role, payment was refused on the grounds that others had been consulted in the process. Regardless of the outcome, his documented claim provides firmer historical footing than the later Betsy Ross narrative, which emerged decades after the Revolution and lacks contemporary documentation.
The 13-star count represents the original thirteen colonies and was formally adopted on June 14, 1777, when Congress resolved:
“Resolved, that the flag of the United States be made of thirteen stripes, alternate red and white, that the union be thirteen stars, white on a blue field, representing a new constellation.”
From 1777 until May 1, 1795, the 13-star flag served as the official national flag of the United States. With the admission of Vermont and Kentucky, the star count increased to 15. After that date, however, the 13-star flag did not disappear. Instead, it evolved into a powerful and enduring symbol of the nation’s founding.
By the early nineteenth century, the 13-star count had come to represent the Revolutionary generation and the origins of American independence. Such flags were displayed during the return tour of General Lafayette in 1824–1825, when public ceremonies across the country emphasized continuity with the founding era. They appeared again during periods of heightened nationalism, including the Mexican War (1846–1848) and especially during the Civil War (1861–1865), when affirmations of unity and constitutional permanence carried particular resonance.
The Centennial International Exhibition of 1876 in Philadelphia further strengthened the association between the 13-star flag and Revolutionary commemoration. The centennial year prompted renewed interest in early American imagery, and 13-star flags were produced in meaningful numbers for decorative and ceremonial use. This revival of Revolutionary symbolism extended into the late nineteenth and early twentieth centuries, particularly in connection with patriotic anniversaries, veterans’ organizations, civic observances, and the approach to the 150th anniversary of American independence in 1926.
The present example belongs to that late nineteenth- to early twentieth-century revival period. Its construction characteristics are consistent with commercial flag production between approximately 1895 and 1926. The canton and stripes are made of wool bunting, the preferred material for outdoor flags due to its durability and ability to shed wind. The lengths of bunting are machine-stitched together, reflecting industrial manufacturing methods rather than hand-sewn construction.
The stars are fashioned of cotton and are double-appliquéd—applied to both sides of the canton so that the flag presents correctly from either orientation. They are secured with a zig-zag machine stitch, a method patented in 1892 and widely adopted thereafter. This stitching technique provides a reliable chronological indicator and places the flag securely in the post-1892 period.
The hoist is made of cotton twill and fitted with rolled-rim brass grommets. The grommets exhibit the warm golden tone and mellow oxidation typical of aged brass rather than plated steel. Brass was commonly used in quality commercial flag production during this period due to its resistance to corrosion, particularly for outdoor and maritime use. The rolled-rim style seen here is consistent with late nineteenth- and early twentieth-century manufacture and supports the circa 1895–1926 dating.
This example also exhibits somewhat squarer proportions than what later became standard. The proportions of the United States flag were not formally regulated until the 1912 executive order issued under President William Howard Taft, which specified the arrangement and relative dimensions of the stars and stripes for official government use. Prior to that standardization, flag makers exercised broad discretion in overall proportions, canton dimensions, and star spacing. As a result, pre-1912 flags frequently display meaningful variation in aspect ratio. The squarer presentation seen here reflects that earlier flexibility and is entirely consistent with a circa 1895–1926 date range.
The 3-2-3-2-3 configuration remained popular well into the twentieth century because it offers both visual balance and strong geometric clarity. The central diamond anchors the design, while the four corner stars stabilize the canton composition. Among the various 13-star arrangements employed during the revival period—including wreath patterns, medallions, staggered rows, and circular configurations—the 3-2-3-2-3 pattern maintained a particularly direct association with early national imagery.
Importantly, 13-star flags produced during this era were not intended to reflect the contemporary number of states in the Union. Rather, they functioned symbolically. They invoked the founding generation and the nation’s original compact, serving as emblems of continuity rather than literal enumerations of statehood. They were frequently displayed at civic buildings, maritime installations, patriotic celebrations, and commemorative events where reference to Revolutionary heritage was deliberate and understood.
Within that historical and manufacturing context, this flag represents a well-constructed commercial example from the height of the early American revival movement. Its materials, stitching techniques, hardware, and proportions align with established production practices of the late nineteenth and early twentieth centuries. It stands as a deliberate and historically grounded evocation of the nation’s beginnings, executed with the industrial craftsmanship characteristic of its era.
Conservation Process: This flag was hand sewn to silk organza, and both were hand sewn to cotton fabric. The silk organza provides a strong layer of protection and a professional appearance. The flag, the silk organza, and the cotton fabric were then hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The frame features a swan profile with a gently scooped face and a stepped outer molding that creates defined depth and shadow. It is finished in a dark walnut wood veneer with visible grain variation and warm brown tonal shifts. The overall presentation is architectural and substantial without appearing overly ornate.
Condition Report: The flag exhibits scattered small holes and minor tears in the striped field, consistent with age and use. There is modest handling evidence along the hoist. Overall, the wool bunting retains good structural integrity, and the colors remain strong.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1895-1926
Number of Stars: 13
Associated War: Spanish-American War (1898) and World War I (1914-1918)
Associated State: Original 13 Colonies
Frame Size (H x L): 28.5” x 33.5”
Broadside Size (H x L): 19.25” x 24”
Offered is a World War I agricultural recruitment broadside produced for use in Illinois under the auspices of the U.S. Boys’ Working Reserve. Printed in red and blue inks on cream machine-made paper, the poster urges farmers to “Take a Boy Now to Help You Farm,” presenting agricultural labor as a direct contribution to the national war effort.
Issued during America’s involvement in the First World War (1917–1918), the broadside responds to labor shortages caused by military enlistment and wartime industrial expansion. The text states that “20,000 Illinois boys (between 16 and 21) have volunteered in the U.S. Boys’ Working Reserve to help Illinois farmers produce the food to win the war,” explicitly linking agricultural production with national victory. While military enlistment posters are more commonly encountered, this material reflects the parallel mobilization taking place on the American home front.
HISTORICAL CONTEXT
The U.S. Boys’ Working Reserve was organized in 1917 under the United States Department of Labor to mobilize teenage boys for essential wartime labor. As adult farm workers entered military service or relocated to industrial employment, agricultural output faced measurable strain. State programs recruited, screened, trained, and placed high school-aged boys in agricultural positions.
Illinois played a meaningful role in this effort. The broadside describes participants as “carefully picked young men — able-bodied and eager for hard work — intelligent, of good character — trained to learn and to obey.” It further notes that many received “SPECIAL EDUCATION FOR FARM WORK,” including instruction in handling horses and farm machinery. The language reflects Progressive Era emphasis on discipline, character, and organized civic participation.
The text asserts that Federal and State governments “GUARANTEE THESE YOUNG MEN,” an assurance intended to address farmers’ concerns regarding reliability and preparedness. The statement that each boy would be “worth his keep from the first day” frames the program in practical economic terms alongside its patriotic purpose.
The broadside bears the printed names of Samuel Insull, Chairman of the Illinois State Council of Defense, and Burridge D. Butler, Federal State Director of the U.S. Boys’ Working Reserve for Illinois. The printer’s imprint at the lower margin reads “Ryan & Hart Co., Printers, Chicago,” placing the production firmly within Illinois’ wartime administrative structure.
DESIGN, PRINTING, AND PHYSICAL CHARACTERISTICS
The headline “TAKE A BOY NOW” appears in large red block letters across the upper field, with supporting text printed in blue to establish clear visual hierarchy. At left center, a shield device encloses a portrait of a neatly dressed young man in suit and tie rather than work clothing. The imagery presents the recruit as disciplined, educated, and dependable. The shield motif reinforces themes of duty and service, aligning agricultural labor with national defense.
The layout is structured and direct, framed by double red and blue rule borders that organize the text into defined blocks. The concluding directive, “ASK THE MAN IN CHARGE HERE,” indicates intended display in a public or administrative setting where local coordination of placements occurred.
The broadside was printed by letterpress on paper, with red and blue inks applied in separate passes. Registration is clean and typographic impressions remain sharp. It is a single-sheet printed broadside featuring a bold typographic header, a shield-form portrait vignette, and structured text contained within rule borders. The lower margin carries the printer’s imprint of Ryan & Hart Co., Chicago. Visible fold lines are consistent with original folded distribution for mailing or shipment to county offices and agricultural agencies.
This U.S. Boys’ Working Reserve broadside documents the organized mobilization of agricultural labor on the American home front during World War I, combining state-level administration, disciplined wartime messaging, and strong graphic structure in a format intended for public display.
Frame: The broadside is housed in a wide, sloped molding with an aged gold surface, intentionally distressed to evoke the appearance of early gilded frames.
Condition: The broadside has been professionally conserved by a paper conservator and presents well overall. Visible horizontal and vertical fold lines remain from original distribution, with minor residual creasing and slight separation previously present at fold intersections. There is light, even toning consistent with age, along with scattered minor edge wear and small imperfections that remain visible upon close inspection. The printed surface remains strong, with red and blue inks retaining good saturation and clarity.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1917-1918
Frame Size (H x L): 30” x 22.5”
Broadside Size (H x L): 21” x 13”
Offered is a rare nineteenth-century American livestock advertising broadside, promoting the breeding services of the purebred imported Clydesdale stallion Young Louden Tam. Printed on glazed cotton and issued for the 1875 breeding season, the broadside was produced for use in northern Illinois, with service locations listed near Orangeville and at S. J. Davis’s stable in Davis, Illinois. It reflects a period when draft-horse breeding was central to agricultural productivity and regional commerce in the Midwest.
Broadsides of this type were created for temporary public display in livery stables, feed stores, fairgrounds, and other agricultural centers. They announced a stallion’s availability, outlined pedigree and terms, and circulated locally during a single breeding season before being replaced. As a result, examples that remain today—particularly those produced on textile substrates rather than paper—are uncommon.
Young Louden Tam is described as a jet-black Clydesdale stallion, standing 16 hands high and rising seven years of age in 1875, an age regarded as ideal for breeding. He is identified as the son of Louden Tam of Scotland, with extended pedigree text noting show prizes and premiums earned abroad. In the decades following the Civil War, Illinois farmers actively sought imported British draft stock to improve strength, size, and consistency in working horses. Clydesdales were especially valued for their combination of power and sound movement, qualities well suited to the demands of Midwestern farming and freight work.
The terms of service reflect the structured and increasingly professional nature of horse breeding at the time. Fees ranged from $8 for a single leap to $15 to insure a foal, amounts that represented a serious investment for farmers. The listed schedule and multiple service locations illustrate how stallions were moved between communities to reach a wider clientele. In Illinois, where mixed grain farming, hauling, and land improvement all depended on animal power, access to a proven imported stallion carried both economic and practical importance.
This broadside is printed on glazed cotton, a durable textile sometimes used for agricultural advertising intended for repeated handling and display. The surface treatment provided greater resilience than paper and helps explain the survival of examples such as this. The central image is a wood engraving of the stallion, paired with bold, utilitarian typography designed for clear visibility in public settings. The overall layout prioritizes clarity and information, combining image, pedigree, schedule, and terms in a direct commercial format.
Taken as a whole, this broadside offers a clear window into nineteenth-century horse breeding in Illinois, where imported bloodlines, regional circulation of stallions, and printed advertising worked together to support an agricultural economy still fundamentally dependent on draft power. It stands as a well-preserved document of that system, valued both for its historical content and for its survival on an uncommon textile medium.
Conservation Process: The broadside was hand sewn to a cotton fabric backing, which was then hand sewn to a mounting board. To prevent dye migration from the black cotton, the fabric was pre-washed and treated with a dye-setting wash prior to mounting. The broadside is displayed behind Optium Museum Acrylic.
Frame: The frame features a wide, flat-profile wood molding finished in dark walnut. Its clean lines and subdued grain provide a strong, understated presentation. The profile offers visual weight without distraction.
Condition: The surface shows light, uneven discoloration, most noticeable in the lighter areas of the field, consistent with age and historical use. These tonal variations do not obscure the printed text or imagery and are typical of glazed cotton advertising from the period. Overall presentation remains clear and well preserved for a nineteenth-century working textile.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1875
Frame Size (H x L): 9.5” x 13”
Flag Size (H x L): 4.5” x 7.5”
Offered is a 48-star American parade flag, printed on glazed cotton, notable for its early, non-regulated star arrangement and for the presence of handwritten inscriptions that record a specific Independence Day celebration. In addition to its patriotic function, this flag preserves contemporaneous written details relating to a local baseball game and Fourth of July festivities.
The handwritten inscriptions appear on both sides of the 48-star flag and are central to its significance. One side records the setting, participants, and date of the celebration, while the other reiterates the date and game details. Because portions of the writing are faint and partially obscured, the inscriptions are transcribed here verbatim so that the historical information is fully accessible.
The inscription on the side shown reads as follows:
Fireworks at
Harlows
G.B.S. & S.A.W.
H.A.H. & A.B.W. Went
July 4, 1903. Ball game
6 to 4 in favor of Kingfield.
The inscription on the other side reads as follows:
July 4, 1903.
H.A.H.
Ball game between Lexington &
Kingfield, 6 to 4 in favor of Kingfield.
Together, these inscriptions anchor the 48-star flag to a Fourth of July celebration in 1903 in western Maine. The named towns—Kingfield and Lexington—were neighboring rural communities, and holiday baseball games between such towns were a common feature of Independence Day observances at the turn of the twentieth century. These games were typically informal and locally organized, often accompanied by picnics and fireworks and held on private farms or open land rather than at formal municipal venues. The reference to “Harlows” is consistent with this practice and appears to denote a locally known family property used as the gathering site.
The recorded score—six to four in favor of Kingfield—suggests local pride and firsthand participation. A series of initials appears on both sides of the flag (G.B.S., S.A.W., H.A.H., and A.B.W.). While their specific identities remain unknown, such initials are typical of informal, personal inscriptions of the period and likely reference individuals present at, or involved in, the day’s events.
The 48-star count is anticipatory. This flag dates to 1903, nearly a decade before the 48-star flag became official on July 4, 1912, following the admission of New Mexico and Arizona earlier that year. In the late nineteenth and early twentieth centuries, American flag makers regularly anticipated future state admissions and produced flags reflecting projected star counts well in advance of official adoption. As a result, 48-star flags are known from the 1890s onward, long before the configuration was formally recognized.
Prior to June 24, 1912—when President Taft issued Executive Order 1556—there were no federal specifications governing star arrangement or flag proportions. Flag makers were free to arrange the stars within the canton as they saw fit, and proportions varied widely. Many early 48-star flags therefore display staggered or offset star patterns and elongated formats, characteristics present in this example and consistent with its early date of manufacture. Exact shades of red, white, and blue were likewise unregulated until 1934.
The 48-star flag holds a uniquely long and consequential place in American history. It became official on July 4, 1912, and remained the national flag for forty-seven years, until July 4, 1959, when Alaska prompted the adoption of the 49-star flag. During this extended period of use, the United States experienced many of the defining events of the twentieth century, including World War I, World War II, and the Korean War, all fought under the 48-star flag. Eight U.S. presidents served while it was the official national emblem, and for many Americans it became the flag most closely associated with the country’s emergence as a global power.
Seen in this light, the presence of a 48-star flag at a small-town Fourth of July celebration in 1903 feels notably forward-looking. Long before the star count became official—and decades before it would fly during some of the nation’s most consequential moments—this flag was already in use as part of everyday civic life, carried and written upon by ordinary Americans marking a summer holiday with baseball and fireworks.
Importantly, this is the exact 48-star flag illustrated and discussed in The Stars and Stripes: Fabric of the American Spirit by J. Richard Pierce. Pierce is widely regarded as one of the foremost private collectors and scholars of American parade flags, and his collection—formed over decades—has served as the basis for exhibitions and scholarship at major institutions. Inclusion in his work places this flag within a rigorously studied and well-documented corpus of American textiles.
The flag is also referenced in a published article in Antiques & The Arts and was publicly exhibited as part of The Stars and Stripes: Fabric of the American Spirit, including exhibitions at Hancock Shaker Village and Morven Museum & Garden. These references establish the flag as a documented and exhibited example.
Taken together, the anticipatory 48-star count, early production characteristics, precise date, named towns, recorded score, handwritten inscriptions, and published exhibition history place this flag within the broader context of American flag-making, early baseball culture, and Independence Day traditions at the turn of the twentieth century.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag is housed in an early frame with a dry black surface, dating to approximately the 1840s. The frame is constructed from four straight lengths of molding joined at the corners rather than mitred, a method associated with utilitarian framing practices of the period.
Condition Report: The flag presents with honest wear consistent with age and use. There is a small hole near the fly end, located beneath the handwritten reference to Harlows, as well as a small vertical tear between the letters “g” and “f” in “Kingfield.” Additional minor fading and surface wear are present throughout, but the flag remains stable, legible, and visually appealing, with the inscriptions and star field clearly intact.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1903
Number of Stars: 48
Associated War: WWI, WWII, and Korean War
Associated State: Arizona
Frame Size (H x L): 14.5” x 18.5”
Flag Size (H x L): 8.75” x 10.5”
Offered is a 44-star American silk parade flag produced for the presidential election of 1892 and overprinted with a portrait of Republican candidate Benjamin Harrison, along with a facsimile of his signature and the campaign year, “1892.”
Printed on silk and intended for parade or public display, this flag represents a documented form of late-19th-century political ephemera that integrates national symbolism, portrait imagery, and campaign identification within a single textile. The canton contains forty-four white stars arranged in regular rows on a blue field, corresponding to the official star count following Wyoming’s admission to the Union in 1890. Harrison’s portrait is printed directly across the striped field, visually linking the candidate to the national flag in a manner consistent with campaign display practices of the period.
The portrait used on this flag is derived from a painted likeness by Eastman Johnson, executed circa 1889 and associated with the National Portrait Gallery. Johnson was a prominent American artist of the 19th century, and the use of his painted portrait as the basis for campaign imagery reflects a common practice of adapting established presidential likenesses for political ephemera. The source of the portrait confirms that the image was not a generic engraving but one grounded in an officially recognized representation of the candidate.
This Harrison portrait flag is documented in authoritative reference works on American political textiles and is represented in major institutional collections. An example of this flag is held by the Smithsonian Institution, within its Division of Political History. Additional examples are documented in the Pierce Collection, one of the most significant private collections of American parade flags and political cloth. The appearance of this flag in both institutional and private reference contexts establishes it as a recognized campaign type rather than an isolated or undocumented variant.
The underlying 44-star silk flag used for this Harrison example was manufactured as a standardized base and later adapted through overprinting. The same base flag was also used for the 1892 Democratic campaign of Grover Cleveland, substituting Cleveland’s portrait and signature while retaining the identical star field and stripe layout. Outside of politics, this flag format appears with other period overprints, including a commemorative example marking the one-hundredth performance of actor John Drew, as well as a salesman’s sample intended to demonstrate advertising possibilities on parade flags. These related examples illustrate the commercial practices of late-19th-century flag makers, who produced high-quality patriotic textiles that could be customized for different clients and purposes.
A notable feature of the Harrison and Cleveland campaign flags is the method of overprinting. Unlike most political parade flags of the era, which were typically overprinted in black ink after the base flag was produced, the portrait and text on this flag were printed in blue ink matching that of the canton. This approach results in a unified visual treatment and distinguishes this group of flags from more common black-overprinted campaign examples.
The election of 1892 provides relevant historical context for this flag. It marked a rematch between incumbent president Benjamin Harrison and former president Grover Cleveland, following Cleveland’s defeat in 1888. The campaign centered on economic policy and tariffs, and Cleveland’s victory made him the only president in U.S. history to serve two non-consecutive terms. Campaign materials from this election reflect a period in which political messaging increasingly relied on mass-produced visual objects intended for public display.
Silk parade flags from the 19th century survive in limited numbers due to the inherent fragility of the material and their intended use. This example remains a clear and legible representation of a documented 1892 campaign design, supported by reference literature and institutional comparators. Its silk construction, identifiable portrait source, and established place within a known family of related flags make it a representative example of American political textiles from the late 19th century.
Conservation Process: The flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag is housed in an early frame with a dry black surface, dating to approximately the 1840s. The frame is constructed from four straight lengths of molding joined at the corners rather than mitred, a method associated with utilitarian framing practices of the period.
Condition Report: The silk shows expected age-related wear, including a few small holes. There is a horizontal tear that begins just to the left of Harrison’s portrait at approximately nose level and extends toward the ear. Despite these condition issues, the textile remains stable, attractive, and visually cohesive.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1892
Number of Stars: 44
Associated State: Wyoming
Frame Size (H x L): 6” x 8.5”
Flag Size (H x L): 3” x 5.5”
Offered is an eighteen-star advertising trade card in the form of a flag, dating to 1885.
THE OBVERSE
It is made of paper and its obverse includes the following overprint:
BUY THE
UNITED * STATES
PLAYING CARDS
MANUFACTURED BY THE RUSSELL & MORGAN PRINTING CO., CINCINNATI, O.
over
The Russel & Morgan Company was founded in 1867 by A.O. Russell and Robert J. Morgan, upon their purchase of the printing section of the Cincinnati Enquirer. In 1880, the Company purchased equipment to begin printing playing cards. By 1881, it was producing 1600 packs per day via a team of 20 employees. In 1894, the playing card business became so large that it was separated off into its own and called the United States Playing Card Company. It is still in existence today and is the largest playing card manufacturer in the world.
The canton of the flag includes a large center star and 17 stars bursting away from it. The inside of the center star includes “U.S.” printed in red. Typically, 18 stars is representative of Louisiana statehood. However, in the case of this flag, the count of 18 stars is likely just a function of what would fit in the canton as part of a starburst pattern.
The combination of the overprint across the stripes and the canton, the folksy subject matter, and the interesting star pattern makes for a tremendous combination of desirable features on a single flag.
THE REVERSE
The reverse of the trade card includes the following verbiage:
U.S. PLAYING CARDS.
PRICE LIST.
No. 9.—Oct. 1, 1885.
No. | Per Gross.
101. TIGERS…$7.50
Assorted Plaid, Star and Calico Backs.
155. TOURIST’S…13.50
Neat Set Pattern Backs.
188. CAPITOL…24.00
Enameled. Fancy Backs.
188.X CAPITOL…39.00
Gilt Edges. Enameled. Fancy Backs.
202. SPORTSMAN’S…36.00
Enameled, high finish. Assor’d Backs.
202.X SPORTSMAN’S…54.00
Gilt Edges. Enameled, high finish.
Assorted Backs.
303. ARMY AND NAVY…48.00
All Linen. Ass’d Fancy Backs. Double
Enam’d, highest finish. Cloth Boxes.
Superfine Poker Cards
404. CONGRESS…66.00
Finest Double Enameled. Gilt Backs.
Cloth Boxes
505. EXTRA ARMY AND NAVY…72.00
Gilt Edges. All Linen. Double Enam-
eled. Cloth Boxes.
606. EXTRA CONGRESS…90.00
Gilt Edges. Finest Double Enameled.
Cloth Boxes stamped in gold.
707. CABINET, FOR Progressive Euchre,…33.00
Double Enameled. Original Assorted
Backs. Cloth Boxes.
707.X CABINET, for Progr’ve Euchre…48.00
Gilt Edges. Cloth Boxes Stamped in
gold.
808. BICYCLE…18.00
White Enameled. Bicycle Backs.
Order by the above Numbers.
JAS. E. DAVIS & CO
DETROIT, MICH.
Conservation Process: This flag is positioned on a cotton rag board and behind Optium Museum Acrylic.
Frame: The antique frame has a crackled, painted surface. It dates to approximately 1880 and compliments the flag.
Condition Report: This flag is in excellent condition.
Collectability Level: The Good – Perfect for Beginning Collectors and Gifts
Date of Origin: 1885
Number of Stars: 18
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 39” x 56.5”
Flag Size (H x L): 28” x 44.5”
Offered is an exceptional American flag featuring a highly unusual 1776–1876 centennial star configuration, created to commemorate the 100th anniversary of the Declaration of Independence. The nation’s centennial inspired an extraordinary wave of patriotic expression and served as a symbolic reunification following the Civil War. Communities across the country marked the occasion with parades, public ceremonies, and elaborate decorations, with flags serving as the most prominent and potent emblem of national identity. Centennial-period flags are particularly noted for their inventive and symbolic star arrangements, and this example stands among the most sophisticated and visually compelling of the period.
The stars are arranged to form the dates “1776” and “1876,” a design that is both celebratory and emblematic of late-19th-century graphic ingenuity. The composition is balanced, legible, and striking, elevating the flag beyond a simple patriotic object into a carefully conceived commemorative textile. Flags of this specific configuration are rare, and examples with this level of visual impact are scarcer still.
The flag is constructed of a cotton-and-wool blend. The inclusion of wool is significant and suggests that the flag was intended for extended display rather than brief outdoor use. This material choice, along with the complexity of the design, strongly indicates production for Philadelphia’s Centennial International Exposition of 1876. Unlike most parade flags of the era—which were commonly made of cotton or silk and intended for short-term use—the wool component provided greater durability, allowing the flag to withstand prolonged exhibition over the exposition’s six-month duration.
The Centennial International Exposition was the most important centennial celebration in the United States, drawing nearly ten million visitors and showcasing American innovation, industry, and culture. Among its most famous exhibits were the Corliss Steam Engine and Alexander Graham Bell’s telephone, both emblematic of the technological optimism that defined the era. Flags such as this were integral to the visual language of the exposition and were produced in comparatively limited numbers for this singular event.
The flag was produced using a method known as press dyeing, an early textile-printing technique patented in the mid-19th century. This process employed a dye vat in combination with a fitted dyeing frame designed to block dye from selected areas of the fabric—such as stars and white stripes—while allowing color to penetrate elsewhere. Although innovative, press dyeing was never widely adopted due to its tendency to produce minor irregularities and printing blemishes, characteristics that are consistent with early examples and that underscore their handmade, experimental nature.
The stars themselves are particularly noteworthy. Each features five primary arms, with five additional thin arms extending outward between them, creating a radiant, almost luminary effect. This star form is extraordinarily rare, and we are not aware of another American flag employing this precise design.
The “1776” portion of the composition contains thirty-eight stars, referencing the admission of Colorado to the Union. Colorado achieved statehood on August 1, 1876, just weeks after the centennial celebrations, earning its enduring nickname, the Centennial State. Although the official national flag during 1876 remained the thirty-seven-star count, it was common for flag makers to produce anticipatory designs in advance of official adoption dates. As a result, both thirteen-star and thirty-eight-star flags were among the most frequently displayed during centennial festivities.
The thirty-eight-star flag became official on July 4, 1877, and remained so until July 4, 1890. The “1876” portion of the design contains forty-three stars. The “7” is composed of ten stars, while the “8” contains fifteen. The rationale for the forty-three-star count is not definitively known. It may reflect anticipation of future state admissions, or it may have been selected to achieve visual balance and symmetry across the overall composition—an approach commonly seen in centennial-era graphic design.
Construction details further support a high level of craftsmanship. The canton is made from a single piece of cotton-and-wool fabric, while the striped field is constructed from two joined sections of the same material. The hoist is formed of twill-weave cotton, and the components are joined with treadle stitching, consistent with period production methods.
Attribution has not been conclusively established, though the flag may plausibly be associated with John Holt or the Horstmann Brothers, both of whom were active in Philadelphia during the centennial period and are known to have experimented with press dyeing techniques. Both were also directly connected to the Centennial International Exposition.
Documented examples of this flag appear in several major institutional and private collections. One was held in the Mastai Collection and sold as Lot 109 in Sotheby’s Important Americana auction on October 10, 2002. Another was part of the Connelly Collection and sold as Lot 136 in Sotheby’s Important Americana auction on May 23, 2002. A further example resides in the permanent collection of the Smithsonian Institution and is illustrated as item 441 in Threads of History by Herbert Ridgeway Collins, former curator of political history at the Smithsonian.
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 presents in honest, period-appropriate condition, with moderate fabric wear consistent with extended 19th-century use and display. There are scattered areas of loss, small holes, and minor tears throughout, several of which have been stabilized with early matching fabric patches that blend well with the surrounding material and do not detract from the overall presentation. Light soiling and scattered staining are present, along with minor dye migration, where the red has lightly bled into adjacent white stripes
Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1876
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
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 28”
Kerchief Size (H x L): 18” x 18”
Offered is a rare Progressive Party campaign kerchief, produced in support of Theodore Roosevelt during the landmark 1912 presidential election. Printed in red on cotton, this textile belongs to a small but historically significant group of political bandannas that combined portraiture, text, and music to promote Roosevelt’s third-party candidacy during one of the most consequential elections in American history.
At left appears an oval portrait of Roosevelt, accompanied by the slogan “Our Teddy.” To the right is a printed sheet-music panel titled We Want Teddy, a campaign song closely associated with the Progressive movement. The lyrics reinforce Roosevelt’s reformist platform and make explicit reference to the Bull Moose Party, reflecting the populist enthusiasm and public engagement that characterized the campaign. The incorporation of musical notation directly into the design distinguishes this kerchief from more conventional graphic examples and illustrates the multi-layered approach to political messaging employed during the period.
The presence of the campaign song is significant. Music played a central role in early-20th-century American political culture, with songs written to be sung collectively at rallies, parades, and public gatherings. Here, the printed lyrics transform the kerchief from a purely visual object into an interactive one—meant to be read, sung, waved, or displayed. The straightforward language of the song mirrors the Progressive movement’s emphasis on mass participation and reform, while its integration with portrait and slogan demonstrates how image, text, and sound were deliberately combined to reinforce political identity. Political textiles incorporating music are comparatively uncommon, adding an additional layer of interest to this example.
The music panel also provides important documentary detail. The song We Want Teddy is credited to Homer A. Rodeheaver and carries a 1912 copyright. Publication is attributed to The Rodeheaver Company, located at 14 West Washington Street, Chicago, Illinois. Rodeheaver was a prominent figure in early-20th-century American music publishing, best known for his work in popular and religious song, and his involvement reflects the professional, commercial scale of music produced for the 1912 campaign. At the time, Chicago was a major national center for music publishing and printing, making it a logical base for the production and distribution of campaign songs intended for wide circulation.
The kerchief is printed on cotton, the standard fabric for campaign bandannas of the late 19th and early 20th centuries, selected for its durability, affordability, and suitability for large-scale production. The design was most likely executed using roller printing, a mechanized textile process widely employed at the time that allowed for consistent registration and the efficient reproduction of detailed imagery, including portraiture, text, and musical notation. Such methods made cotton kerchiefs effective vehicles for political messaging intended for broad public distribution.
This piece is directly associated with Roosevelt’s 1912 Bull Moose campaign, which followed his break with the Republican Party. Running as the Progressive Party candidate, Roosevelt advanced a platform he termed “New Nationalism,” calling for expanded federal authority to regulate corporations, protect labor, promote social welfare, and strengthen democratic institutions. His decision to run independently represented both a continuation of his earlier reformist policies and a response to what he viewed as the failure of his successor, William Howard Taft, to carry those policies forward.
The 1912 election marked one of the most significant fractures in American political history. After serving two terms, Roosevelt had pledged not to seek another, but growing dissatisfaction with Taft’s conservative approach—particularly regarding trust regulation—drew him back into national politics. When Roosevelt failed to secure the Republican nomination, he and his supporters formed the Progressive Party. Nicknamed the “Bull Moose Party” after Roosevelt declared himself “fit as a bull moose,” the movement became a clear expression of political independence and reformist resolve.
The Progressive platform advocated expanded labor protections, women’s suffrage, environmental conservation, and stricter federal oversight of corporate power—positions that set Roosevelt apart from both Taft and the Democratic nominee, Woodrow Wilson. Although Roosevelt attracted substantial popular support, the divided Republican vote enabled Wilson’s victory. Roosevelt nonetheless carried 88 electoral votes to Taft’s 8, making the campaign the most successful third-party presidential effort in American history. While the Progressive Party itself was short-lived, its ideas exerted lasting influence on later reform movements, particularly those of the New Deal era.
As documented in Threads of History, the portrait of Roosevelt is derived from a photograph taken by the Pack Brothers of New York in 1904, one of the leading portrait studios of the period. The reuse of a well-known formal photograph reflects common early-20th-century practice, in which established images were adapted for mass political dissemination. This exact design is illustrated and cataloged in Threads of History within the Ralph E. Becker Collection of the Smithsonian Institution, providing authoritative institutional confirmation of the kerchief’s design, imagery, and 1912 Progressive-era context.
Political kerchiefs such as this were widely used as wearable symbols of support—worn by adherents, waved at rallies, displayed in storefronts, and retained as souvenirs of significant campaigns. Combining portraiture, slogan, music, and mass-produced textile technology, this example stands as a well-documented artifact of Progressive-era political culture and a surviving witness to one of the most consequential presidential elections in American history.
Conservation Process: This kerchief was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the kerchief, it was first washed in a standard wash and then in a dye setting wash. The kerchief is positioned behind Optium Museum Acrylic.
Frame: The kerchief is housed in a stained wood frame with a broad, sloped profile. The dark finish shows subtle tonal variation that allows the wood grain to remain visible. The profile provides strong visual containment while remaining understated and appropriate for period display.
Condition Report: Condition is good overall, with light surface soiling and scattered small spots or toning, most noticeable in the white areas of the portrait and music panel. The perimeter shows minor edge wear and slight fraying, consistent with age and use. There are no significant tears or losses.
Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1912
Frame Size (H x L): 33” x 26.75”
Flag Size (H x L): 23.5” x 17.5”
Offered is a patriotic banner made of glazed cotton, commemorating the centennial of the United States in 1876. It features a distinctive swallowtail design with a pointed bottom. The central portion of the banner is a white field, prominently displaying the bold red text "1776 CENTENNIAL 1876" in a stylized font. The lettering stands out against the background, emphasizing the historical significance of the piece.
Surrounding the central area is a wide blue border adorned with evenly spaced white five-pointed stars, reinforcing its American patriotic theme. In total, there are 37 stars, reflecting the official number of states in the Union from 1867 to 1877, following Nebraska’s admission as the 37th state. This star count aligns with the 1876 Centennial era, as the U.S. flag design remained unchanged until Colorado became the 38th state in August 1876.
This banner celebrates the United States' centennial, marking 100 years since the signing of the Declaration of Independence. Given its vibrant design and patriotic symbolism, it was almost certainly waved with pride at a centennial celebration or purchased as a keepsake during the nationwide festivities of 1876.
The banner was made by the American Flag Company, a well-documented producer of patriotic textiles during the 1876 Centennial celebrations. While the company was formally incorporated in New York in 1893, evidence from The Threads of History confirms that it was actively manufacturing banners, pennants, and flags in the 1870s, including designs nearly identical to this one. The American Flag Company played a significant role in producing high-quality patriotic memorabilia, supplying decorative textiles for centennial parades, expositions, and public celebrations. Given the banner’s distinctive swallowtail shape, color scheme, and typographic style—hallmarks of the company’s known centennial-era work—it is consistent with their production methods.
During the centennial, the demand for patriotic banners surged as Americans sought to commemorate the nation’s 100th anniversary with bold, symbolic decorations. The American Flag Company was at the forefront of this movement, manufacturing pieces that not only honored the past but also reflected the nation’s optimism for the future.
The United States Centennial in 1876 was a grand celebration marking the 100th anniversary of the nation’s independence, symbolizing a century of progress, resilience, and patriotism. This milestone came at a time of national reflection, as the country had recently emerged from the Civil War and was working toward reunification and industrial advancement. The centennial was a moment for Americans to honor the achievements of their young nation while looking forward to its future growth. Citizens across the country participated in parades, fireworks displays, and special ceremonies, reinforcing a sense of national pride and unity.
The most significant event of the centennial celebrations was the 1876 Centennial Exposition in Philadelphia, Pennsylvania. This world’s fair, held in Fairmount Park, was the first major international exhibition hosted by the United States. Spanning six months, from May to November, the exposition showcased the latest technological innovations, industrial advancements, and cultural exhibits from both the U.S. and other participating nations. More than 10 million visitors attended, including notable figures such as President Ulysses S. Grant and Emperor Dom Pedro II of Brazil. Among the most famous exhibits were Alexander Graham Bell’s telephone, the Corliss steam engine, and a massive arm and torch from the yet-to-be-completed Statue of Liberty.
Beyond the exposition, centennial celebrations took place in cities and towns across the nation. Patriotic symbols such as the Liberty Bell, bald eagle, and stars and stripes were widely displayed in decorations, banners, and commemorative items, reinforcing national identity. Newspapers and publications of the time encouraged citizens to reflect on the ideals of the Declaration of Independence, with many speeches focusing on themes of freedom, democracy, and innovation.
Additionally, centennial-themed art, music, and literature flourished, further cementing the event’s cultural significance. The centennial also served as a turning point in America’s transition from an agrarian society to an industrial power. The inventions and advancements displayed at the exposition underscored the rapid technological growth that would define the coming decades. It was a time when the nation embraced modernization while still paying homage to its revolutionary roots.
For many Americans, the centennial reinforced the belief that the United States had not only survived its first century but had emerged stronger and more capable of leading on the world stage. This banner, with its powerful iconography and exceptional craftsmanship, serves as a tangible reminder of that momentous occasion—an artifact that was likely held aloft in the excitement of a centennial parade or purchased as a cherished souvenir of the grandest celebration in the nation's history.
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 frame features a black outer border with a silver-toned inner portion, creating a sophisticated contrast that draws attention to the banner’s patriotic design.
Condition Report: The banner is in well-preserved condition for its age, with some signs of wear consistent with its historical use. The fabric exhibits light fading, creasing, and minor fraying along the edges, particularly at the swallowtail points. There is some missing fabric along the top edge, more pronounced on the right side than the left, adding to its authentic, timeworn character. Despite these age-related imperfections, the colors remain vibrant, and the printed text and star pattern are still bold and legible, making it an excellent example of a centennial-era patriotic textile.
Collectability Level: The Good – Perfect for Beginners and Gifts
Date of Origin: 1876
Number of Stars: 37
Associated War: The Indian Wars (1860-1890)
Associated State: Colorado
Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 40.75” x 46.75”
Flag Size (H x L): 29” x 46.75”
Offered is an exceptional 48-star antique American flag salesman sample, dating to the period between 1912 and circa 1930. Salesman samples such as this were produced in limited numbers during the late 19th and early 20th centuries, serving as compact, portable representations of a manufacturer’s full-size offerings. Traveling salesmen relied on these reduced examples to present styles, construction, and materials to retailers, while shopkeepers, in turn, used them to demonstrate available products to prospective customers without the need to unfurl full-scale flags. Because they were utilitarian tools rather than objects intended for public display, survival rates are extraordinarily low.
This remarkable example is composed of seven individual cotton flags, carefully stacked and joined in descending size, with the largest flag forming the base and progressively smaller flags layered atop it. The resulting visual effect is both graphic and sophisticated, offering a clear demonstration of scale, proportion, and workmanship while simultaneously functioning as a striking work of American folk art. Its appearance bears a notable resemblance to Jasper Johns’ 1958 painting Three Flags, in which a large, medium, and small American flag are similarly superimposed. Johns’ work—acquired by the Whitney Museum of American Art in 1980 for $1 million—has become one of the most celebrated images in postwar American art. While this flag salesman sample predates Johns’ painting by several decades, the compositional parallel underscores the enduring visual power of the layered flag motif in American culture.
Flag salesman samples are among the rarest forms of American patriotic textiles. Fewer than a dozen are known to exist across all star counts, and 48-star examples are represented by only a small handful of documented specimens. These appear in two distinct formats: one in which the individual flags are smaller and joined by a white cotton header, and another—such as the present example—in which the flags are larger and joined by a blue cotton header. A notable example of the latter format once resided in the esteemed Richard Pierce collection. Beyond the 48-star format, only one 38-star sample and one 45-star sample are presently known, bringing the total number of documented flag salesman samples to approximately seven.
Collectors value flag salesman samples not only for their extreme scarcity, but also for their dual role as historical artifacts and visually compelling objects. Unlike standard parade or garrison flags, these pieces document the commercial side of American flag production, providing insight into how manufacturers marketed their wares and how retailers engaged customers. The stacked, graduated presentation transforms a practical sales aid into an object of considerable aesthetic presence, one that bridges the worlds of folk art, design history, and national symbolism. In the case of 48-star examples, this appeal is further enhanced by the flag’s long official lifespan and its association with some of the most transformative decades in American history.
Until 1912, American flag makers enjoyed broad freedom in arranging the stars within the canton, resulting in a wide variety of whimsical and folk-influenced patterns. Early 48-star flags often display staggered or offset star arrangements. This changed in June of 1912, when President William Howard Taft issued Executive Order No. 1556, mandating a standardized rectilinear configuration for the 48-star flag, arranged in six horizontal rows of eight stars each. The sampler offered here exhibits this precise rectilinear pattern, strongly indicating production in or after 1912. Based on construction methods and materials, it is reasonable to conclude that it predates the widespread changes in flag manufacture that occurred around 1930.
The 48-star flag commemorates the admission of New Mexico and Arizona as the 47th and 48th states, on January 6 and February 14, 1912, respectively. The design officially became the national flag on July 4, 1912, and remained so for an extraordinary forty-seven years—the longest official tenure of any American flag. It flew during the administrations of Presidents Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower, and during some of the most consequential events in the nation’s history, including World War I, World War II, and the Korean War.
The 48-star flag was ultimately replaced on July 4, 1959, following the admission of Alaska to the Union and the adoption of the 49-star flag. Today, 48-star flags are widely regarded as emblematic of early-20th-century America, and salesman samples such as this stand among the most coveted and intellectually rich forms of American patriotic textiles.
Conservation Process: This flag was hand sewn to cotton fabric, and both were hand sewn to a mounting board. To prevent the black dye in the cotton fabric from seeping into the flag, it was first washed in a standard wash and then in a dye setting wash. The flag is positioned behind Optium Museum Acrylic.
Frame: The flag is presented in a deep, black-painted frame with a softly scooped profile and a lightly weathered surface that reveals subtle undertones of warm brown beneath the finish. The design is both substantial and refined, with a gently burnished texture that complements the age and character of the flag. Its depth allows the textile to be recessed slightly, giving the presentation a shadowbox effect that enhances contrast and visual presence.
Condition Report: Overall, the flag presents very well, with strong, vibrant coloration and excellent graphic impact in the stacked format. There is expected age and handling wear, including light soiling and soft creasing from prior folding/display. Close inspection reveals minor fraying and small edge wear—most noticeably at a few corners and along the hoist binding—along with a few tiny pinprick holes consistent with age and use.
Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1912-1930
Number of Stars: 48
Associated War: WWI
Associated State: Arizona
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