Frame Size (H x L): 33.25” x 61.5”  
Overall Flag Size (H x L): 22” x 51.5”

Offered is an outstanding 34-star American flag repurposed in 1880 to support the Republican presidential ticket of James A. Garfield and Chester A. Arthur. The flag’s body was produced during the early Civil War period, when Kansas entered the Union as the 34th state, and was later adapted for campaign use through the addition of a white cotton strip printed on each side with “GARFIELD AND ARTHUR.” The piece unites two defining moments in American history—the preservation of the Union and the political renewal of the postwar Republic.

The flag’s body measures approximately 22 by 46 inches, excluding the added campaign strip, which brings the full length to about 51.5 inches overall. It displays 34 press-dyed stars arranged in a rare 8-1-8-8-1-8 configuration. The proportions are elongated and the design distinctly folk, suggesting small-shop or regional manufacture rather than factory production. The star pattern, with its two offset outliers near the hoist, lends the canton a lively sense of movement, departing from the rigid grids typical of printed parade flags.

CONSTRUCTION
The red-and-white field is one continuous length of woven cotton, not pieced or printed. The alternating stripes were produced at the loom by alternating red-dyed warp threads with undyed (white) warps across the beam, while the weft remained white throughout. The red color is therefore structural, derived from the yarn itself rather than applied pigment. Where the red and white warp groups meet, the colors blend softly, creating subtle transitions characteristic of mid-19th-century striped cottons.

This warp-dyed “colored sheeting” was a staple product of American mills in the 1850s and 1860s, made by dyeing warp yarns in Turkey-red or madder baths before weaving. Combined with plain white weft, the process yielded finished yard goods ideal for flag production and removed the need for pieced stripes or surface printing in many cases. The fabric’s slightly coarse, wool-like texture results from short-staple cotton fibers, uneven spinning, and residual starch sizing applied for loom stability—features typical of patriotic bunting of the era.

The blue canton is made of a separate piece of undyed cotton, hand-sewn to the striped field with small whipstitches visible along the inner edge. Its coloration was achieved by press-dyeing, a resist-dye process in which star forms were masked with a wax or paste compound before the fabric was pressed between dye-soaked pads or immersed under pressure in a blue dye bath. When the resist was removed, undyed stars remained against a deep matte blue ground. The blue pigment penetrates evenly through the cloth, producing soft feathering along the star edges rather than the crisp mechanical borders of roller printing.

The hoist consists of a separately applied band of plain-weave cotton, folded and hand-stitched to the canton and field with heavy cotton thread. The pair of small circular apertures, near the top and bottom, are hand-worked and reinforced with thread, not fitted with a metal grommet. Along the hoist appear inked notations reading “22 × 46” and “–CX2,” the latter preceded by a faint, indecipherable character. The marks were applied in the same hand and ink, likely by the original maker to indicate dimensions and batch or pattern identification.

At the fly end, a white cotton strip approximately five and a half inches wide was added during the 1880 campaign. The fabric differs markedly from the main field—finer in weave and with a subtle calendered finish intended to accept ink evenly. It was attached by a straight, machine-sewn line of undyed cotton thread, executed with the precision and tension consistency typical of a treadle sewing machine. The seam is nearly invisible today, as both thread and fabric have aged to the same pale ivory tone. After attachment, the legend “GARFIELD AND ARTHUR” was stenciled by hand in black oil-based pigment. The pigment penetrates fully through the fibers, showing minor haloing and variation in opacity from letter to letter. Its oxidized gray tone and lack of embossing confirm a brush or pad application through a cut stencil rather than mechanical printing.

Taken together, these details reveal a flag produced in 1861 to 1863 for patriotic display, later reissued circa 1880 as a campaign banner.

HISTORICAL CONTEXT
The 34-star flag officially represented the United States from July 4, 1861, to July 3, 1863, commemorating Kansas’s admission to the Union. It flew during the first two years of the Civil War, a period marked by uncertainty, sacrifice, and the forging of a new national identity. By 1880, such flags were already antiquated, yet their presence remained familiar. Merchants and campaign committees occasionally repurposed Civil War–era stock by printing or sewing candidate names across surviving examples. In some cases, this was an intentional gesture—an effort to evoke wartime unity and the victory of the Union cause. In others, it was a matter of simple pragmatism: the ready availability of leftover flags and bunting from earlier decades made them a natural choice for campaign display.

The Garfield–Arthur ticket arose from a deeply divided Republican Party. In the aftermath of Reconstruction, the party fractured between reformers who sought to curb political patronage and traditionalists who defended the existing system. When the Republican National Convention deadlocked between Ulysses S. Grant and James G. Blaine, delegates turned to James A. Garfield of Ohio, a respected former Union general, scholar, and nine-term congressman, as a compromise nominee. To balance the ticket, they selected Chester A. Arthur of New York, an ally of the powerful party machine led by Roscoe Conkling.

The 1880 campaign emphasized national unity, economic growth, and the moral integrity of Republican leadership. Garfield’s image as a self-made man—born in a log cabin, educated through sheer persistence, and rising from canal laborer to college president—resonated with voters still drawn to the ideal of the citizen-soldier. His war service at Shiloh and Chickamauga lent authenticity to his calls for stability and reconciliation. By contrast, Democratic nominee Winfield Scott Hancock, also a Union general and war hero, made the race unusually close, with both candidates celebrated for their military valor.

Garfield and Arthur ultimately prevailed by one of the narrowest popular margins in U.S. history—a difference of just about 10,000 votes nationwide—but secured a comfortable 214 to 155 victory in the Electoral College. Their triumph reaffirmed the Republican Party’s national dominance in the postwar era and its identification with Union loyalty and progress.

Garfield’s presidency, however, was tragically brief. Barely four months after his inauguration, he was shot by a disgruntled office seeker, Charles Guiteau, and died eleven weeks later, in September 1881. The event shocked the nation and stirred widespread disgust with the patronage system that had divided the party. Chester A. Arthur, long viewed as a machine politician, ascended to the presidency amid skepticism but soon surprised the public by embracing civil service reform, signing the Pendleton Act in 1883 and earning an enduring reputation for integrity and restraint.

Against that backdrop, this flag stands as a poignant emblem of the political and cultural crosscurrents of its age—a Civil War–era banner literally reborn for the campaign that would reshape the Republican Party and usher in the modern civil service system. Whether reused deliberately to recall Union victory or simply drawn from surviving stock, its adaptation links two defining eras in American history: the struggle for national preservation and the postwar effort to reform and reunify the nation.

PROVENANCE
This example originates from the collection of Dr. Jeffrey Kenneth Kohn, M.D., one of the country’s foremost authorities on historic American flags. Dr. Kohn began collecting in the early 1980s, assembling one of the most comprehensive private holdings of 19th-century flags and patriotic textiles. A respected historian and lecturer, he served as Historian for the Philadelphia Flag Day Association, curated major flag exhibitions at the Union League and Betsy Ross House, and co-authored American Flags: Designs for a Young Nation. His expertise in textile analysis, manufacturing techniques, and period dye processes has informed museum collections nationwide. The association with his collection underscores this flag’s authenticity and importance within the broader field of American political textiles.

SIGNIFICANCE
In both construction and historical resonance, this flag offers a remarkably complete picture of American textile and political culture in transition. Its woven red and white stripes, press-dyed canton, hand-sewn hoist, machine-stitched campaign strip, and stenciled inscription together embody two generations of craftsmanship—one rooted in hand production, the other in emerging industrial methods. Each layer reflects a different chapter of the national story: the technical ingenuity of mid-19th-century cotton mills, the artistry of resist dyeing, the rise of mechanical sewing, and the enduring impulse to reinterpret patriotic symbols through political expression.

The survival of all these elements, unaltered and intact, makes this one of the most compelling known Garfield & Arthur campaign flags.

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 presented within a hardwood frame finished in matte black with visible grain.

Condition Report: The flag displays strong overall integrity, with the fabric stable and the colors in the canton and stripes still well defined. Expected signs of age are present, including minor fabric thinning, small losses along portions of the red stripes, and light wear at the upper edge. The “GARFIELD AND ARTHUR” printing shows fading and surface wear, yet remains legible. The weave throughout the textile is sound and tightly set.

Collectability Level: The Best – Perfect for Advanced Collectors
Date of Origin: 1861-1863, Repurposed 1880   
Number of Stars: 34
Associated War: The Civil War (1861-1865) and the Indian Wars (1860-1890)   
Associated State: Kansas

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 42” x 62”
Flag Size (H x L): 30.5” x 50.5”

Offered is an extraordinary antique American flag printed on a fine, thin cotton fabric that presents with an unusually smooth and lustrous surface. Though at first glance it almost evokes the sheen of silk, the textile is glazed cotton—a material often prized by mid-19th-century textile printers for its crisp finish and ability to take saturated color. The canton is printed in a rich indigo blue that slightly darkens where the glaze remains strongest, while the stripes appear in a vibrant shade that reads today as orange-red rather than the deep scarlet seen on modern flags. This tonal variation was common among mid-19th-century examples, as no official specification for the national colors yet existed, and the appearance of the red often reflected the particular dye formulas available to individual printers or the natural fading of the pigment over time. Each of the red stripes exhibits a faintly raised texture from the pigment application, sometimes referred to as a “paint-printed” or “pigment-dyed” process.

The white stripes display an especially intriguing feature: several hand-sewn patches that appear to be period repairs or intentional reinforcements, made from fabric identical to the surrounding material. Their hand stitching is neat and deliberate, suggesting an early attempt to correct printing or structural irregularities. Whatever the purpose, the presence of these period-applied patches adds to the flag’s individuality and speaks to the resourceful, hands-on nature of early textile making.

A separately applied cotton hoist is machine-stitched to the flag’s left edge, with short cords at both the upper and lower corners, indicating that it was once intended for functional display. The flag is exceptionally lightweight and delicate in hand, its surface marked by subtle creases and the characteristic sheen of early printed cotton flags produced during the Civil War era, circa 1859–1861.

The configuration of stars on this 33-star flag belongs to a small and fascinating group of designs generally classified as pentagon or heart medallions—patterns that emerged during the late 1850s and persisted into the early years of the Civil War. In this example, a large central star, representing Oregon’s admission as the 33rd state in 1859, anchors the design. Around it are two loosely pentagonal rings of smaller stars, producing a form that falls somewhere between a five-sided figure and a subtle shield shape. The result is a layout that is geometrically deliberate but slightly irregular, a quality that gives early printed flags of this period their distinctive handmade character.

This format is closely related to the series of medallion-style flags associated with H.C. Howard of Philadelphia, one of the most important early makers of printed parade flags. Active from roughly 1856 through the early 1860s, Howard’s name appears on documented examples made for presidential campaigns including those of John C. Frémont and Abraham Lincoln. His designs are noted for their bold central stars, experimental geometry, and unusually fine printing quality for the time. While this flag bears no maker’s mark, its structural rhythm and medallion form align strongly with Howard’s known work or that of those influenced by his shop, which helped set the visual language for pre-war and early wartime flag design.

The use of a large central star carries both symbolic and compositional meaning. In 19th-century American flags, the center star was often used to emphasize new statehood or the unity of the nation as a whole. Here it marks Oregon’s addition to the Union—a moment of western expansion and fragile national optimism on the eve of conflict. This convention—highlighting the newest state through size or placement—became common among skilled flag printers, allowing a single star to serve as both a visual anchor and a narrative device within the canton.

Oregon’s path to statehood was long and politically complex. Originally part of the vast Oregon Territory established in 1848, the region’s admission as a state was driven by years of settlement along the Oregon Trail and debates over the expansion of slavery. The territory’s provisional government had already outlawed slavery in 1844, and when Oregon sought admission, it entered the Union as a free state—an outcome that heightened sectional tensions in the years preceding the Civil War. President James Buchanan signed the act admitting Oregon on February 14, 1859, making it the nation’s 33rd state and extending American sovereignty to the Pacific Northwest. The inclusion of Oregon added both geographic reach and symbolic weight to the Union, representing the final realization of a continental republic just as the nation was fracturing along ideological lines.

The 33-star flag represents a narrow and historically pivotal moment. Oregon achieved statehood on February 14, 1859, and the flag bearing 33 stars became official on July 4 of that year. It remained current until July 4, 1861, when Kansas’ admission introduced the 34-star flag. For this reason, the 33-star flag bridges two eras: the final years of the antebellum period and the first months of the Civil War. One such flag was flying above Fort Sumter when Confederate forces opened fire in April 1861.

Flags associated with this brief window are among the rarest of all American flags. Prior to the Civil War, Americans seldom displayed the national flag for patriotic purposes, and even the U.S. Army did not regularly carry it until the 1830s and 1840s. Before this time, the Stars and Stripes functioned mainly as a naval ensign, and most examples were extremely large. Consequently, pre-war flags—especially small printed examples suitable for personal use—represent only a minute portion of surviving 19th-century flags.

The 33-star era thus occupies a unique position in American history. It marks the final official design adopted before the outbreak of war and the first widely produced during it. The rise of patriotic sentiment surrounding Lincoln’s election and the preservation of the Union spurred the creation of small printed flags for rallies, parades, and home display—objects that transformed the Stars and Stripes from a maritime signal into a national symbol of unity.

Because production of 33-star flags ended by mid-1861, surviving examples are exceedingly scarce. This flag, with its fine printed cotton construction, luminous surface, rare pentagon-style medallion, and curious period hand-sewn patches, represents not only the artistic innovation of its maker but also the moment when Americans first began to embrace the flag as a personal emblem of loyalty 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 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: The flag presents beautifully with strong color and excellent overall preservation for its period. The orange-red stripes remain vivid, and the blue canton retains much of its original depth and saturation. Scattered, small hand-sewn patches appear in the white stripes, all executed in matching period fabric and thread, adding both character and evidence of early care or construction refinement. Minor toning, light creasing, and modest wear are present, consistent with age and the delicate nature of mid-19th-century printed cotton, but the flag survives in an exceptional state of integrity for a pre–Civil War example.

Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1859-1861
Number of Stars: 33
Associated War: Pre-Civil War
Associated State: Oregon

Sign Size (H x L): 22.25” x 61.5” x 1”

Offered is a distinctive early 20th-century antique trade sign for the "J.T. McMillan Sanitary Meat Market".  The sign’s charming historical character is defined by its bold, black lettering accented with a yellow silhouette, which stands out against the oyster-white background, ensuring high visibility and a classic, eye-catching appeal.  The sign possesses a commanding presence, ideal for a feature display.

The story of J.T. McMillan and his son, J.T. McMillan Jr., stands as a testament to ingenuity, enterprise, and the spirit of innovation that transformed the meat packing industry in the United States.  Their legacy is not only a narrative of a family business but also a chapter in the broader history of American commerce and labor relations.

James T. McMillan, born in Belfast, Ireland in 1839, embarked on a journey to the United States with a vision of prosperity and opportunity.  Settling in St. Paul, Minnesota, McMillan leveraged his tenacity and business acumen to establish a meatpacking venture that would grow to become a hallmark of quality and efficiency.  In 1871, he laid the foundation of what was to become the J.T. McMillan Company, a name that would resonate with trust and quality in the meat industry.

McMillan's approach to meat packing was revolutionary.  At a time when the industry was characterized by fragmented operations and unsanitary conditions, the J.T. McMillan Company pioneered methods of refrigeration and mechanization that would set new standards.  His commitment to quality was reflected in the company’s products, which soon became synonymous with wholesomeness and were sought after across the region.

J.T. McMillan was not only an industrialist; he was a community pillar in St. Paul.  His contributions to the local economy and the well-being of its residents were profound.  He provided employment, stability, and growth in a period of rapid industrialization, often leading the charge in adopting practices that would benefit both his company and the community.

Following in his father’s footsteps, J.T. McMillan Jr. continued to expand and innovate within the meat packing industry. Under his guidance, the company adapted to the changing times, embracing new technologies and expanding their reach to new markets. It was during this era that the company faced the tumultuous challenges of labor unrest, indicative of the growing pains of an industrial nation. In 1920, the Butcher Workmen's strike at the packing plant called attention to the need for fair labor practices and equitable wages. The strike, which included both male and female workers, resulted in a significant step towards improved conditions and was a pivotal moment in labor history.

The McMillan meat packing enterprise was more than a business; it was a microcosm of the American dream, embodying the transformation of a nation through the lens of industry. The senior McMillan's immigrant success story and the junior McMillan's navigation through the complexities of early 20th-century labor relations provide a narrative rich with themes of ambition, struggle, adaptation, and progress.

Today, the remnants of the J.T. McMillan Company serve as a reminder of the indelible impact that the McMillan’s had on the American meat packing industry and the labor movement. Theirs is a story that underscores the multifaceted nature of progress, highlighting both the industrial prowess and the human elements that drive the evolution of commerce and community.

Condition Report: Crafted from pine, the sign showcases the authentic patina of age, including wear commensurate with its use.  Its condition tells a story; while the sign displays well, it shows evidence of several restorative attempts, such as nailing and applied moldings, which add to its authenticity and charm.

Collectability Level: The Great – Perfect for Rising Collectors 
Date of Origin: 1900-1930  

Frame Size (H x L): 38” x 53”
Flag Size (H x L): 27” x 42”

Offered is an antique flag, printed on glazed cotton, with a “CLEVELAND & HENDRICKS” campaign overprint. Cleveland was the presidential nominee for the Democratic Party in 1884. His vice-presidential running mate was Thomas A. Hendricks. They ran against James G. Blaine, who was the presidential nominee for the Republican Party, and John A. Logan, who the vice-presidential nominee. Cleveland and Hendricks defeated Blaine and Logan. The Cleveland ticket won 219 electoral votes and 48.9% of the popular vote, while the Blaine ticket won only 182 electoral votes and 48.3% of the popular vote.

STAR COUNT
In 1884, the official star count was thirty-eight. However, despite the flag being offered herein having so clearly been associated with the 1884 Cleveland and Hendricks campaign, it has just thirty-six stars. This “lower than expected star count” is the result of one of these possibilities:

As a first possibility, this flag may have been made during the Civil War or shortly thereafter; placed into storage, unsold; and then overprinted for the campaign of 1884. Under this possibility, this flag may have been made between 1864 and 1867, and then left in storage until it was overprinted and distributed in 1884.

As a second possibility, this flag may have been made with an outdated printing block. Cutting printing blocks was an arduous task. Thus, makers sometimes used older, outdated blocks in later years, in order to save time and avoid the effort associated with making new ones.

As a third possibility, this flag may have been made without much thought at all going into choosing the star count. During the 19^th century, there was a general randomness with respect to star counts. Neither makers nor buyers were particularly disciplined with respect thereto, perhaps in part because the star count changed so frequently in the 19^th century, and also perhaps in part because early flags were crude in every respect, the star count being no different. Under the second and third possibilities, this flag would have been made in 1884.

Ultimately, as viewed from the outer bounds of this trio of possibilities, the flag itself would have a “not earlier than date” of 1864 and a “not later than date” of 1884. And regardless of the age of the underlying flag, the overprint would have been applied thereto in 1884—basically, (1) after Cleveland and Hendricks were chosen as nominees, and (2) after the flag was taken from storage or immediately after the flag was printed, depending on the circumstances.

CONSTRUCTION
The stripes of this flag are closer to orange than red, and they are striking in their appearance. This unusual color is common in flags dating to between 1850 and 1880, because during this time period, makers often used either madder or cochineal to create the red dye. Over time, such dyes would oxidize and turn orange.

This flag is 27” x 42”, making is relatively large in scale compared to most printed campaign flags of the era. In turn, it makes a bigger statement and is more desirable than most of its peers, in this important respect.

THIRTY-SIX STAR FLAGS GENERALLY
The thirty-six star flag represents the inclusion of Nevada to the Union. Nevada was admitted on October 31st, 1864, and this flag became official on July 4th, 1865. Nevada was originally part of the Utah Territory beginning in 1850, became its own territory in 1861, and became its own state in 1864.

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

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

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

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

Condition Report: As shown in the photos, this flag has light stains throughout its surface. The darkest stains run along the white stripe that is the second one from the bottom. These stains may be rust marks from nails attaching the flag to a staff (i.e., perhaps when the flag was rolled around the staff and nails). The bottom third of the canton has been professionally restored. Prior thereto, this portion of the canton had faded much more than the others portions thereof. The “CLEVELAND & HENDRICKS” overprint is faded, more so over the red stripes than over the white stripes. Despite these issues, this flag is age appropriate, attractive, and impressive. It is a statement maker and head turner.

Collectability Level: The Great – Perfect for Rising Collectors
Date of Origin: 1864-1884
Number of Stars: 36
Associated Wars: The Civil War (1861-1865) and the Indian Wars (1860-1890)
Associated State: Nevada

Price: Please call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 39” x 65.5”
Flag Size (H x L): 27” x 52” with 11” tassels

Offered is a homemade forty-five star flag.  Homemade antique flags stand out in the realm of flag collecting, and for good reason. These flags—crafted with personal care by the hands of individuals, rather than mass-produced in factories—hold a unique story and have character.  Every stitch, imperfection, and design choice speaks to the time, place, and the person who created it.  Unlike their mass-produced counterparts, homemade flags often carry with them the emotions, hopes, and spirit of the times they were made in. This intimate connection to history, combined with their one-of-a-kind nature, makes homemade antique flags a treasure for collectors and enthusiasts alike.

The flag offered herein is made entirely of cotton.  Its stripes are individually cut and machine sewn together, and they are similarly machine sewn to the cornflower blue canton.  The stars of this flag are made of cotton, and they are machine sewn to both sides of the canton (i.e., double appliqued).  The top of the hoist edge includes two white tassels and two red tassels.  Similarly, the bottom also includes two white tassels and two red tassels.  

The allure of an antique flag often hinges on its size.  Overly large flags can bring about challenges, from the intricacies of framing to the complexities of shipping, deterring many potential collectors.  On the other end of the spectrum, flags that are too small can miss out on the "wow factor", failing to leave a lasting impression.  The flag offered herein is a piece that embodies the perfect balance in size. Neither too big nor too small, it captures the essence of history while being both manageable and impressively captivating.  This ideal size ensures that it can be appreciated and showcased with ease, placing it at the pinnacle of desirability in amongst antique flags.

The First Flag Act of 1777 specified the number of stripes and the colors of the flag, but it did not specify the star placements or its overall proportions.  Because of this lack of specificity, each flag maker could place the stars and dimension the flag however he wanted.  This freedom extended all the way to 1912, the time at which President Taft issued Executive Order 1556, establishing that the stars should be placed in a rectilinear pattern, and the proportions of the flag.  In the case of this early flag, the stars are arranged in a 7-1-7-7-1-7-7-1-7 pattern, with notches in the right hand column.  The notches represent the openings for the next three states to be admitted to the union: Oklahoma, Arizona, and New Mexico.  

FORTY-FIVE STAR FLAGS GENERALLY
The forty-five star flag represents the inclusion of Utah to the Union.  Utah was admitted on January 4^th, 1896, and this flag became official on July 4^th, 1896.  Presidents Grover Cleveland, William McKinley, and Teddy Roosevelt served under this flag, and the Spanish-American War was fought under it.

In 1848 Utah became a territory of the United States, and in 1849 its constitution was established as the Mormon State of Deseret.  The next year, the State of Deseret applied to become a state, but Congress rejected the application and changed its name to the Utah Territory, which included the entirety of Nevada and portions of Colorado and Wyoming (as a section of the Missouri Compromise).  Despite its continued efforts to gain statehood, it remained a territory, partially as a result of the Mormon Church and Utah authorities being openly tolerant of polygamy.  In 1890 Utah outlawed the practice, and in 1896 Utah finally became the forty-fifth state.

The forty-five star flag was official for 12 years up until July 4^th, 1908, when the forty-six star flag became official and began to represent the inclusion of Oklahoma in the Union.

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

Frame: This offering is in a modern black frame. Portions of its profile are smooth; other portions are rippled.

Condition Report: The canton has faded slightly, more so in some places than in others.  There are some small stains, the most notable of which are on the white stripes.  There are a few small tears and holes.  Overall, this flag is attractive and age appropriate.    

Collectability Level: The Great – Perfect for Rising Collectors   
Date of Origin: 1896-1907
Number of Stars: 45
Associated War: The Spanish-American War (1898) 
Associated State: Utah

Frame Size (H x L): 42.5” x 57”  
Flag Size (H x L): 30.5” x 45”

Offered is a spectacular twelve-star antique flag.  It is a homemade example and visually striking in every respect.  But perhaps most striking of all, it has nineteen stripes—among the most that we have ever encountered on an antique flag—rather than the standard thirteen.  In some cases, the number of stripes has a symbolic meaning.  However, the nineteen stripes of this flag are probably either a function of it being made with scraps from other projects or with whatever material happened to be available to the maker.

The stars are in a 4-4-4 rectilinear pattern, and they are canted in various, random directions.  They are made of cotton, sewn by hand with a running stitch and a whipstitch, and single-appliquéd.  When applied in this manner, the stars are sewn to just one side of the canton, the canton is cut away from behind each star, and the canton is then hemmed around each star.  By doing this, the single piece of cotton used for each star can be seen on both sides of the flag.  This method is difficult to execute, but the upside is that it conserves material, reduces weight, and allows the flag to flow horizontally and visibly in the wind.

Single-appliquéd flags are highly desirable.  They are much rarer than double-appliquéd flags.  Only around 20% of the flags made during the 1860s are single-appliquéd; only around 10% of those in the 1870s are as such; and only around 1% of those in the 1890s are such.  Additionally, the stars on single-appliquéd flags are attractive and folksy.  In the case of this flag, its stars resemble star fish and are visually interesting.   

The First Flag Act of 1777 specified that the flag should have stars, stripes, and a canton.  However, it did not specify the proportions of the individual components, the proportions of the components relative to one another, the proportions of the overall height relative to the overall width, and the like.  Such proportions were not specified until 1912.  In the case of this flag, its stars and canton are unusually large, and the overall length of the flag is relatively short (i.e., the flag looks stocky). 

The First Flag Act also specified that the flag should be red, white, and blue, but it did not specify the shades of these colors.  The shades thereof were not specified until 1934.  Thus, flags made therebetween often exhibit unusual colors.  In the case of this flag, it red stripes and the blue canton are both particularly vibrant.

The cotton canton is handsewn to the striped cotton bunting, using both a running stitch and a whipstitch.  The canton is a single piece of material, while the bunting is two separate pieces.  The separate pieces are handsewn to one another using a running stitch.   

THE TWELVE STARS
The number of stars on a flag is generally a function of how many states were in the Union at the time the flag was made.  In general, the star count is a reliable way to determine a flag’s age.  However, there are many exceptions to this general rule, including anticipatory flags, which are older than the official dates normally associated with their star counts; thirteen-star flags, common throughout our nation’s history; and flags with “extra stars” that were added at some point after their initial date of manufacture. 

In the case of this flag, knowing with certainty what the maker intended with respect to the twelve stars is not possible.  However, there are at least three reasonable explanations. 

FIRST THEORY | EXCLUSIONARY FLAG    
The first theory is that this an exclusionary flag with a star count that represents Missouri, the twelfth state accepted to the Confederacy (even though its acceptance thereto was in opposition to Missouri’s controlling, pro-Union government wing).

An exclusionary flag is one that is meant to exclude a portion of the United States, and that includes fewer than the official number of stars for a given time period.  Despite President Lincoln’s pleas to avoid such a practice, there were Northern flags that excluded the stars representing the Southern states, and there were Southern flags that excluded the stars representing the Northern States.  These latter flags are more specifically referred to as secession flags or Southern sympathy flags.

When Lincoln was elected president, the South Carolina legislature perceived him as a threat, knowing that he was an opponent to slavery and particularly its expansion.  In response, delegates voted to remove South Carolina from the Union.  Following its secession, Mississippi, Florida, Alabama, Georgia, Louisiana, and Texas followed suit, in this order, in a first wave.  Shortly thereafter, following the Confederacy’s’ attack on Fort Sumter, Virginia, Arkansas, Tennessee, and North Carolina also followed suit, in this order, in a second wave.  These waves occurred in sudden fashion.  South Carolina’s secession occurred on December 20th, 1860 and North Carolina’s secession occurred, just months later, on May 20th, 1861.   

Missouri was a border state and political powder keg.  Southerners traveling up the Mississippi and Missouri Rivers settled the state, and many of them brought slaves with them.  Northerners also entered the state in large numbers and held their own political views.  Missouri became a state in 1821, following the Missouri compromise in 1820, in which Congress agreed that slavery would be legal in therein, but otherwise illegal north of the 36°30' latitude.  As part of the compromise, Maine would enter the Union as a free state, so as to maintain the overall balance between free and slave states.   

In 1854, the Kansas-Nebraska Act nullified the Missouri Compromise by permitting the Kansas and Nebraska territories to decide for themselves, by a vote, whether they would be free or slave states upon joining the Union.  At this time, federal law decreed that slaves that physically enter a free state become free themselves.  In view of this, Missouri slave holders were concerned that if Kansas became a free state, then the entire border between Missouri and Kansas would be a conduit for smuggling slaves to freedom via the Underground Railroad.  Pro-slavery residents of Missouri saw this as a threat, while in contrast, anti-slavery residents of Kansas saw this as an opportunity.  Violence ensued therebetween, each side hoping to influence how Kansas would enter the Union.     

In 1860, outgoing Governor Robert Marcellus Stewart, who had northern leanings, proposed that Missouri remain part of the Union and militarily neutral, the only exception being that Missouri should protect its borders.  In contrast, incoming Governor Claiborne Fox Jackson had southern leanings, and following his election, he promoted Missouri’s secession, planned to seize a federal arsenal in St. Louis, and conspired to divert money to Missouri’s troops.  Following a series of conflicts between Missouri and the Union, Jackson and remnants of the elected state government were driven to the southern part of the state.  They developed a shadow government and enacted an Ordinance in Secession.  In response, the Confederate States of America accepted Missouri as the twelfth state thereof and gave it votes in the Confederate Congress.  In other respects, the shadow government was essentially powerless (relative to the remaining portions of the actual government).

In parallel with the shadow government’s supposed secession, the actual government reconvened via the Missouri Constitutional Convention and declared the Missouri governor’s office to be vacant.  It appointed Hamilton Rowan Gamble as the new governor, who agreed to provide troops to the Union Army.  Under his leadership, 447 Missouri Regiments fought for the Union, including the 1st Missouri Volunteer Calvary Regiment, which fought continuously throughout the entire conflict.

In the case of this flag, the twelve stars may represent Missouri’s status as the twelfth state in the Confederacy, while its overall traditional layout may represent national patriotism or respect for the stars-and-stripes.  Additionally, as discussed, Missouri had mixed loyalties, and subtle symbolism via flags was sometimes used as a means of communication in such states.  On at least some occasions, unusual flags were made to mark secret meeting locations or to signal that aid is available with respect to a cause.   

SECOND THEORY | COMMEMORATIVE FLAG  
The second theory is that this is a commemorative flag with a star count that represents North Carolina, the twelfth state to join the Union.

In 1787, the colonies held a Constitutional Convention and drafted the US Constitution.  In 1788, North Carolina voted on whether to accept or reject it.  It did the latter, the basis being a fear that the national government would be too powerful and the states too week.  In 1789, it voted again and accepted it.  The second vote was successful, because the national leaders added the Bill of Rights to the Constitution, which promised to protect the rights of the people, thus alleviating at least some of the concerns associated with the first vote.  Additionally, the second vote was successful, because the wealthy plantation owners in the northeastern portion—who supported the Constitution even in the first vote and who held the bulk of the political power—threatened to seceded, absent a successful second vote.  North Carolina became a state on November 21st, 1789. 

In the case of this flag, it may commemorate North Carolina’s admission to the Union.  It would not date to 1789 or anywhere close thereto.  Rather, it would date to North Carolina’s 75th anniversary in 1864 or its 100th anniversary in 1889—the most logical boundaries from an anniversary perspective in view of the flag’s materials, construction, and appearance.  To at least a certain extent, flags made for such events were handsewn and homemade, and they were flown in various manners, particularly on front porches, store fronts, and buildings.   

Along similar lines, this flag may have been displayed at the Centennial International Exposition in Philadelphia in 1876 or the World’s Columbian Exposition in Chicago in 1893, both of which were patriotic events and logical in view of the flag’s construction and appearance.  That said, flags flown at such events were typically made of wool, almost certainly in the case of flags flown outdoors.  As such, in the case of this cotton flag, its material suggests that it would have been used indoors.  Further, flags flown at such events were typically professionally manufactured.  Thus, in the case of this flag, its handsewn construction and folksiness suggest that it probably was not used at the Expositions or similar events. 

Of the different places and times mentioned under this second theory, we believe that it would most likely have been used as a commemorative flag with respect to an anniversary and flown informally at a home or shop.  Damage to this hoist suggest that this flag was used with some frequency outdoors, but presumably with protection from the elements, particularly water.  Alternatively, this flag may have been moved indoors and outdoors, per the weather.  Such movement would logically fit with what a homeowner or shop owner might do with respect to a standard upkeep regimen.    

THIRD THEORY | NAVY ENSIGN   
The third theory is that this is a navy ensign with a rare count of twelve stars. An ensign, or sometimes referred to as a boat flag, is a national flag that is flown on a boat or ship, typically on the stern of the vessel.  In the 18th century and much of the 19th century, the US flag was primarily considered a maritime flag, and for this reason, the national flag used on land was the same as the one used at sea.  Beginning in the 1850s (and perhaps earlier), the US Navy began utilizing thirteen-star flags, so that each star could be as large as possible and, thus, make the US flag easily identifiable at long distances upon the open seas.  In 1916, the US Navy discontinued this custom and transitioned to incorporating a full star count.     

Ninety-five percent of ensigns include thirteen stars.  In contrast, the other five percent include a combination of twelve, fifteen, sixteen, twenty, and twenty-four stars, all of which are star counts that are discernible from a distance, easy to place, and easy to arrange in a manner that mimics traditional military based formats. 

Due to the extreme environment that ensigns endure, they typically include grommets, gussets, heavy grade wool, and extra stitching.  Further, most ensigns appear to be “long” versus other flags.  This is so that the ensign is easy to identify without taking up too much vertical space on the ship, and so that after extended use, it can be repeatedly trimmed and hemmed to repair any damage that may occur. 

With this backdrop in mind, in the case of this flag, its star count suggests that it may be an ensign, but its cotton construction suggests differently.  Cotton absorbs water and is relatively weak; Wool sheds water and is relatively strong.  It is possible that a sailor made this flag for use in a dry place on a ship, such as the pilot house.  Ultimately, we believe that this third theory is worth mentioning in the spirit of a complete analysis, but we also believe that it is the least likely of the theories presented herein (i.e., 5% chance or less).   

DATE OF MANUFACTURE
Prior to the Civil War, the military did not regularly carry flags, and Americans did not typically display them for patriotic purposes.  Instead, as discussed above, most flags prior to the Civil War were used to mark ships and massive in scale.  The surge in small flags for patriotic purposes began with the election of Lincoln and the onset of the Civil War.  This was the first time in our history that private citizens began purchasing, making, and displaying flags.  For this primary reason, it is much harder to find flags that predate the Civil War, and much easier to find flags that date thereto or thereafter.  As a general rule, pre-Civil War flags account for only 1% of nineteenth century flags. 

In view of this backdrop, and in view of the construction, materials, and appearance of this flag, we believe that it dates to 1860 or later.  If the first theory is correct, this flag would date to 1861 or thereabout.  If the second theory is correct, then this flag would likely date to between 1864 and 1893.  Its construction, materials, and appearance suggest that this flag dates to 1890 or earlier.  In totality, we conservatively believe that this flag dates to between 1860 and 1893.

Regardless of which of the above theories is correcting, finding nineteenth century twelve-star flags is exceedingly difficult.  This is the first one we have handled.  It is hard to imagine an example much better than the one offered herein.  It is extraordinary in every respect.

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

Frame: This flag is in our X-Large Distressed Black Frame.  However, it can be reframed and would look great using any one of our Large or X-Large Frames, which are shown in the final two images.  The pricing associated with the different framing options may vary.  Reframing of the flag may delay shipment by up to two weeks.

Condition Report: This flag has some small tears and holes.  Most notably, the top of the canton and the bottom of the stripes have been torn and are now missing.  This flag was clearly flown and attached at these two points, hence the damage.  Both areas have been masked.  The canton is generally rich in color, but it has faded in certain distinct places.  The white stripes and stars exhibit some staining and foxing.  Overall, this flag is in excellent condition and is striking in person.

Collectability Level: The Extraordinary – Museum Quality Offerings  
Date of Origin: 1860-1893  
Number of Stars: 12  
Associated War: Civil War (1861-1865)
Associated State: Missouri or North Carolina   

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

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

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

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

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

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

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

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

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

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

Frame Size (H x L): 22” x 51”
Pennant Size (H x L): 10.5” x 36” with 4” tassels.

Offered is a rare National Western Stock Show pennant.  Its field and tassels are black.  The verbiage “NATIONAL WESTERN” is positioned above what appears to be a shorthorn calf, and the verbiage “STOCK SHOW” is positioned below it.  The verbiage “DENVER 1914” is positioned in the middle of the pennant.  This is the earliest National Western Stock Show pennant that we have encountered.  It is fantastic in every respect.   

THE NATIONAL STOCK GROWERS CONVENTION | 1898-1906
Following the economic carnage of the 1893 Silver Crash, many Coloradans pivoted from mining to ranching in hopes of restoring their livelihoods.  Per this pivot, the bankers shifted their investments out of ore-processing an into food processing; the railroads shifted from moving ore freight to moving cattle, sheep, hogs, wheat, hay, and sugar beets; and Colorado went from smelling like smelter smoke to smelling like stockyards, canneries, breweries, and mills. 

Despite these pivots, the meatpacking industry in Denver was relatively small, particularly in comparison to those in Chicago, Kansas City, and Fort Worth.  Due to this deficiency in Denver, ranchers either sold their livestock at a discount locally or at retail in one of these larger markets (but with increased shipping costs).  To make matters worse, ranchers in the dry West fed their livestock hay and grass for slower corresponding gains, while farmers in the humid East fed their livestock corn with faster corresponding gains.  For the ranchers to prosper, they needed a stronger market in Denver and hardier cattle in the fields.   

To assist with these objectives and to revive Colorado’s spirit, in 1898, Denver boosters hosted the National Stock Growers Convention (“Convention”).  The Convention began on January 25th, and Governor Alva Adams and Denver Mayor Thomas S. McMurray gave welcoming speeches.  Many prominent agricultural leaders attended the Convention, including James Wilson, US Secretary of Agriculture; Gifford Pinchot, Chief Forester of the U.S. Forest Service; R.M. Allen, Manager of the Standard Cattle Company in Ames, Nebraska; and Colonel Hooker, Arizona’s most prominent rancher.

The Denver Republican described the event as the “Greatest Gathering of the Kind Ever Attempted.”  With similar enthusiasm, the Rocky Mountain News stated, “almost ever stockman of prominence in the West is here on or the way and the attendance from the Eastern states is far better than the most hopeful expected. The hotels are full to the roof and running over, but there seems to be still room at the top, and as yet everyone is being cared for, though late arrivals are compelled to do some hustling to find a bed.”

THE GREAT BARBEQUE RIOT OF 1898
The Convention hosted a free barbeque following the stock show, in what was arguably the most chaotic grill-based riot that the world has ever seen.  In total, the barbeque had six-tons of meat in its inventory, including countless cows, a feast of quails, 2 bears, 150 possums, 4 buffalo from Cheyenne, and 5 elk from Routt County.  To complement the meat, there was 200 pounds of brown sugar, 250 pounds of coffee, troughs of gravy, and innumerable barrels of beer.  While this list of raw ingredients is crude in nature, Chef C.H. Hill’s final menu described the meal more eloquently as bear meat, spiced with south American bay leaves; sugar-cured venison, topped with  fine herbs; mutton, drizzled with mint sauce; and possum, with a side sweat potatoes—not to mention many other interesting, if not tasty, combinations good enough to rival those found at top shelf restaurants.

On the day of the barbeque, the city was essentially shut down to partake therein, and the Chicago, the Burlington, and the Quincy were on an accelerated schedule, such that every 15 minutes a train would depart from Union Station and go to the Denver Union Stockyards.  In parallel, Chef Hill and his team prepared the food, beginning with the cattle and buffalo, which required cooking for a total of 14 hours, turning every few minutes, and basting with large mops every minute.

Organizers expected between 20,000 and 25,000 attendees, the estimate being based on the extensive advertising throughout the city, including in the slums, and further based on the guaranteed draw of free food, particularly of the kind being offered.  In preparation for the crowd, organizers created a perimeter of fencing, corded off the entrances with ropes, and had a boxcar ready to serve as a makeshift jail—just in case.  Before the ropes were even dropped, 30,000 people surrounded the barbeque and slowly moved in on the dinner and the perimeter surrounding it.

Sensing conditions ripe for a riot, terrified waiters threw hunks of meat and loaves of bread to the crowd, while police and state militia troops did their best to hold the perimeter.  In doing so, they responded with force, some even going so far as to strike attendees with sabers and clubs.  Despite this, the crowd continued inching forward.  Soon thereafter, a rope failed, the crowd rushed the perimeter, and chaos erupted.  The crowd—specifically, the portion thereof that newspapers described as hoodlums who would consider pork and beans a delicacy—began looting the makeshift kitchen by taking large quantities of meat, barrels of beer, and various utensils, including 1,000 steel knives and forks; 2,000 tin cups; 50 large white platers; 25 galvanized iron pails; 20 steel flesh hooks; and 100 cleavers, hatchets, and carvers.  To make matters worse—while all of this was happening—Edward “Kid” Calkins, a cattleman from Grand Junction, fought and killed Claude J. Wilson by breaking his neck on the foot rail of the bar.

The newspapers blamed the chaos on improper planning, and they were particularly critical of the decision to distribute free ticket into the city’s slums.  The organizers were unphased.  Later that same day, they were already planning the following year’s Convention and barbeque.

WESTERN LIVESTOCK SHOW | 1906-1908
In 1906, the Convention became the Western Livestock Show.  In 1906, it was held in a circus tent, and in 1907 and 1908, it was held in what was referred to as a monster tent.  The monster tent was heated with coke braziers; decorated with flags and buntings; complemented with the aromas of straw, hay, and feed; and filled with the sounds of cattle, horses, announcements, and a brass band known for its rendition of “There’ll Be a Hot Time in the Old Town Tonight.”  Even in these early years, the expectations of the organizers, participants, and attendees were not just met, but exceeded.

NATIONAL WESTERN STOCK SHOW | 1909 AND BEYOND
In 1909, the Western Livestock Show became the National Western Stock Show or, for short, the National Western.  The National Western was, and still is, held in the National Amphitheater, its first proper structure.  The National Amphitheater was a massive structure for the time, measuring 250’ by 350’ and capable of seating 6,000 people.  It was designed in a neoclassical style with pedimented entries framed by twin towers.  It was lit be large flaming arc lamps and skylights, and livestock stalls were located under the seats. 

The Stockyards surround the National Amphitheater.  The Denver Union Stock Yard Company built the Stockyards in 1886, and by 1905 the Stockyards covered 105 acres and annually handled over 230,000 cattle; 115,000 hogs; 300,000 sheep; and 22,700 horses and mules.  In many ways, the Stockyards are the heart of the National Western, in that, that is where most of the livestock is kept and many of the deals are made.  Additionally, the Stockyards are a distinctive aspect of the National Western, as compared to the facilities of its counterparts, such as the North American International Livestock Exposition in Louisville and the American Royal in Kansas City, both of which are held mostly indoors and apart from stockyards of any kind.   

Just like in its early days, the National Western is still considered the best show of its kind.  In 2020, the National Western lasted 16 days, and over 700,000 people attended its many different events.

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

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

Condition Report: As shown in the images, this pennant exhibits some toning.  But overall, it is in excellent condition and looks great.

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

Price: Call 618-553-2291, or email info@bonsellamericana.com
Frame Size (H x L): 40” x 52.5”
Flag Size (H x L): 26.5” x 39”

Offered is a thirty-three star antique flag.  It is one of approximately ten known examples and is outstanding in every respect.  It is printed on glazed cotton.  The star pattern of this flag includes a center star that is surrounded by three concentric rings of stars.  The inner ring includes four stars, the middle ring includes ten stars, and the outer ring includes sixteen stars.  The outer ring is flanked by an additional upper right star and a lower right star.  This pattern is referred to as an offset medallion pattern, and is one of the classic configurations associated with nineteenth century antique flags.  

The red stripes of this flag are orange in appearance, while the blue canton is dark blue in appearance.  The First Flag Act of 1777 specified the number of stripes and the colors of the flag, but did not specify the exact shades of each color, which is why some flags—like this one—have unusual colors.  The exact shades were not officially specified until 1934.

The thirty-three star flag represents the inclusion of Oregon to the Union.  Oregon was admitted on February 14th, 1859, and this flag became official on July 4th, 1859.  Use of the thirty-three star flag overlapped the beginning of the Civil War, as evidenced by, for example, a thirty-three star flag being flown at Fort Sumter when Confederate soldiers attacked it.  Flags associated with the Civil War time period are among the rarest and most collectible of all antique flags.  Prior to the Civil War, Americans did not typically display flags for patriotic purposes, and even the military did not regularly use it.  Instead, most flags prior to the Civil War were used to mark ships and were massive in scale.  The surge in small US flags for patriotic purposes began with the election of Lincoln and the onset of the Civil War.

Flags predating the Civil War (1861-1865) are the rarest and most desirable of all US flags.  Prior to the Civil War, Americans did not typically display flags for patriotic purposes, and even the military did not regularly display it.  This is because it was not until 1834 that the army field artillery was permitted to carry the traditional US flag, and not until 1841 that regiments carried it.  Most flags made prior to the Civil War were used to mark ships and were large in scale.  For these reasons, flags made prior to the Civil War account for only around 1-in-100 flags made in the 19th century, and examples small enough to display are even more scarce.  It was not until 1861 that flags were produced in large numbers, and private citizens began waving them in public and displaying them at home.

The thirty-three star flag was official until July 4th, 1861, the time at which the thirty-four star flag became official and began to represent the inclusion of Kansas in the Union.  

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

Frame: This offering is in a contemporary wooden frame of the highest quality. 

Condition Report: There is staining and foxing, particularly along the fly end.   

Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1859-1861
Number of Stars: 33
Associated War: Pre-Civil War
Associated State: Oregon

Price: Call 618-553-2291, or email info@bonsellamericana.com 
Frame Size (H x L): 55” x 80”
Flag Size (H x L): 42” x 68”

Offered is an extremely desirable thirty-six star flag.  The stars on this flag are arranged in a "Great Star" pattern, one of the rarest and most beautiful patterns encountered in antique flags.  The Great Star pattern is a large star made of smaller stars.  The smaller stars may be a variety of sizes and be canted in a various directions.  Such a pattern was perfectly acceptable, as prior to President Taft's Executive Order 1556 in 1912, flag makers were free to place the stars however they wished. 

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

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

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

The stripes and canton of this flag are made of fine, blended wool.  The use of such wool for the stripes is unusual for a Civil War era flag and indicates that this was a premium flag (as opposed to one with regular wool stripes), probably intended for a wealthy or discerning customer. 

The stripes are individually cut and machine sewn together, the canton is machine sewn to the stripes, and the hoist is machine sewn to both the stripes and canton.  More specifically, the stripes, the canton, and the hoist are joined via treadle stitching.  Treadle stitching was a technical possibility beginning in the 1830s, but not a realistic possibility until the 1850s.  Treadle stitching became relatively common by the 1860s and was used in approximately half of flags made between 1861 and 1865, typically to sew the stripes, the canton, and/or the hoist. 

The stars of this flag are made of cotton.  They are sewn to both sides of the canton (i.e., double appliequed), using a lineal treadle stitch.  Lineal treadle stiches are most commonly found on flags dating between 1885 and 1895.  Prior to this time, stars were commonly applied by hand, and after this, they were commonly applied using a zig-zag stitch.  While lineal treadle stitches were sometimes used to sew the stars on Civil War flags, it is the exception, rather than rule.  The reason for its rarity in this era is simply a function of the available technology.  Prior to Singer’s introduction of the electric sewing machine in 1889, flag makers applying  a lineal stich had to place each star on the canton, fold its edges under, pump a treadle machine—and while doing all of this—properly move both the star and canton through it.  While this was not an impossible task, the introduction of the electric sewing machine made it much easier.  By 1895, most flag makers had transitioned away from the lineal stitch and to the zig-zag stitch, as its use provided the advantage of not having to fold the edges of the stars.

This flag is small in size for a piece-and-sewn flag, dating to the Civil War.  This adds considerably to its appeal, as it can be easily displayed.  It was not until the Civil War that small piece-and-sewn flags were made with any frequency at all, and not until the 1890s that they were made with regularity.  During most of the 19th century, flags made with piece-and-sewn construction had a width of at least eight feet, as they were typically used as signaling devices for the military or by sailors.  Even the flags that were used for decorative purposes usually had a width of six feet or more, and versions smaller than this were quite rare. 

The thirty-six star flag represents the inclusion of Nevada to the Union.  Nevada was admitted on October 31st, 1864, and this flag became official on July 4th, 1865.  Nevada was originally part of the Utah Territory beginning in 1850, became its own territory in 1861, and became its own state in 1864.  The timing of Nevada's inclusion was politically and economically based.  For political reasons, Nevada was admitted to the Union just eight days prior to President Lincoln's re-election bid against General George McClellan.  Such timing was meant to benefit Lincoln and his fellow Republicans.  For economic reasons, Nevada was included as part of the Union to help it pay off the country’s war debts.  Economically, Nevada was particularly attractive at the time, because of its significant silver mining industry.  Nevada expanded its borders in 1866 when the western Utah Territory was added to its eastern side, and further expanded in 1867 when a portion Pah-Ute County in the Arizona Territory was added to its southern side.  

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

Conservation Process: This flag was 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 Conservation Clear Acrylic (standard) or behind Optium Museum Acrylic (per request).   

Frame: This offering is in a special edition X-Large Frame.  However, it can be reframed and would look great using any one of our standard Large or X-Large Frames, which are shown in the final two images.  The pricing associated with the different framing options may vary.  Reframing of an offering may delay shipment by up to two weeks.  

Condition Report: This flag exhibits minor mothing and a tear near its hoist edge.  It otherwise in excellent condition and among the best-preserved examples of the Civil War era.  

Collectability Level: The Extraordinary – Museum Quality Offerings
Date of Origin: 1864-1867  
Number of Stars: 36   
Associated War: Civil War (1861-1865)
Associated State: Nevada