revolutionary war flags blackberry farms presentation

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Cover Page

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BILL LOWE GALLERY

764 MIAMI CIRCLE | SUITE 210 | ATLANTA | GA | 30324 | 404.352.8114 | WWW.LOWEGALLERY.COM

13-Star Flag 1820 - 1840

Flag of the North Hampton County Historical Society |69 x 119 inches

Among surviving antique American flags that date to the 19th century and prior, very few exist that pre-date the Civil War (1861-65). One in three hundred is probably a reasonable estimate. Within this fractional percentage, far fewer pre-date 1840, and of those that actually do, some of these exceptionally rare survivors are simultaneously enormous and graphically plain. Made primarily for ships, they are too big to reasonably frame and display in even the largest of private homes.

This 13-star flag was made prior to the 1840 benchmark, is more reasonable in scale and, at the same time, visually compelling. Arranged in the 4-5-4 pattern, the stars have arms that terminate in flattened points. This distinctive profile is shared with some of the earliest of known examples and, according to any number of historical records, the 4-5-4 arrangement would have been seen on a significant number of our nation's eldest flags. Note how the stars point in various directions on their vertical axis, which adds a nice folk quality to this beautiful early textile, as does the uneven spacing created by the justified rows in two different counts.

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This particular 4-5-4 pattern flag formerly accompanied the "Easton Flag" at the Easton Public Library in Northumberland County, Pennsylvania. The Easton Flag is one of the most famous early examples that physically exists in present day America. Its imagery was basically a reversal of the Stars & Stripes. Instead of a blue canton with 13 white stars, resting on a field of 13 red and white stripes, the Easton flag has a canton made of 13 red and white stripes, resting on a solid blue field, on which there are 13 stars, arranged in a circular pattern of 12 with a 13th star in the very center.

Long rumored to be one of ancestors of the Stars & Stripes, local legend held that the Easton Flag was flown over the courthouse on July 8th of 1776, when the Declaration of Independence was read aloud on the courthouse steps by the county clerk. The Second Continental Congress did not adopt a national flag until almost a year later, on June 14th, 1777. This portion of the history of the Easton flag is disputed as merely myth by most flag historians, because there is no hard evidence that it existed in that period, but the remainder of the flag's story is better documented. On September 6th, 1814, the flag is known to have been presented by the 14-year-old daughter of a man named George Beidleman, to Captain Abraham Horn's local militia unit as they dispatched for service in the War of 1812.

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At the war's end the Company disbanded and returned home with the flag. In 1816, former members of Horn's Company, joined together with Captain Peter Nungesser's Company of Light Infantry, to form a new militia unit called the Easton Union Guards. In 1821, the decision was made to deposit the flag with the Easton Library Company for safe keeping in Library Hall on North Second Street, where it remains to this day (though within a newly designed facility).

In June or July of 1945, The Easton Public Library contracted with famed flag restorer, Katharine Fowler Richey (1889-1949), who claimed to have restored more than 5,000 flags and whose mother, Amelia Fowler (1862-1923), was one of ten women who, for eight weeks, performed the conservation on America's most famous surviving flag, the Star Spangled Banner. Richey was commissioned to conserve and restore both the Easton Flag and this very early 13 star flag in the 4-5-4 pattern, which was also apparently in the Library's possession. The flag was apparently on loan from the Northampton County Historical & Genealogical Society. The two flags were featured together in a July 3rd, 1945 article for a local newspaper, accompanied by a photo of Richey holding the 4-5-4 pattern flag with the help of librarian Richard D. Minnich. In the article, Richey pronounces both flags to positively date to the 18th century. A signed letter from Richey to Minnich, dated June 30, 1945, formerly states her opinion regarding the 4-5-4 example.

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In 1961, the Northampton County Historical & Genealogical Society sold the 13 star, 4-5-4 pattern flag for the sum of $50, to a collector by the name of John Scheid [b. 05/31/17, d. 03/28/97], who had, in 1960, been selected as the first president of the Forks of the Delaware Historical Arms Society. The original receipt survives with the flag, as does the Richey's letter. 36 years later, in 1997, following Scheid's death, a New Jersey collector purchased the flag from the Scheid estate. The flag was taken to the Smithsonian, where it was examined by textile expert Katherine Dirks, who later led the project team that restored the Star Spangled Banner. Dirks' formal, one-page report was regrettably lost, and her department at the National Museum of American History has since been closed, but her original, signed, summary letter to the collector survives. It states that "the flag appears to be from the early 19th century, rather than the 18th century", an opinion with which I personally agree. The collector fortunately recalls extensive verbal communication with Dirks, who found that one of the threads used in the construction was not commercially available in the United States until 1812. The thread was commercially available in England before that date. Because it was probably the most recently made fabric used in the construction of the flag, this thread establishes the earliest possible date that the flag could have been made at approximately that year.

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It may also have seen use at sea and was afterwards put into storage. Whatever the case may be, the flag experienced losses at the fly end and was clearly flown for an extended period. It was longer originally, yet because there were no official proportions for the American national flag until the 20th century, its original length cannot be not known with certainty. What is known is that American flags were often made in an elongated format for use on ships, so that they could be folded back and hemmed as they experienced loss from wind damage.

At the top of the hoist, two groups of numbers are written in a more modern hand. These are inventory codes and were probably used at the Easton Public Library or the Historical Society.

The canton and stripes of the flag are constructed of wool bunting with a coarse, homespun weave and with significant irregularity in the width of the strands. The wool is an early variety, with the appropriate characteristics that I have found to be indicative of the period between approximately 1820 and 1840, though it could be slightly earlier. The canton is made up of two laterally joined, 18-inch wide lengths of fabric. 18 inches is a standard loom width for wool bunting made throughout the 19th century and prior. The hand-sewn hoist binding is made of sailcloth canvas. At the top and bottom of this are hand-sewn, whip-stitched grommets. The word "Armory" was written along the obverse of the hoist with a dip pen, near the bottom, in a 19th century hand. Although the flag is very small in size for garrison use, it may have been sufficient for a small barracks or it may have served as one of several flags in the stores at an armory, available for whatever use the ranking officer intended.

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The U.S. Navy used the 13 star count on small boats, not only in the 18th century, but throughout much or all of the 19th century, particularly the second half. Ship captains were paranoid about the ability of foreign ships to recognize the flag on the open seas. On smaller scale flags [most of which seem rather huge in today's world], the ability discern individual stars at a distance, through a spyglass, was a serious concern. Keeping the count at 13 for the flags used on maintained better visibility. In my experience, the use of 13 stars for small naval flags during this early period was not consistent and the same seems to have been true for at least some flags used on land. Some documented examples survive that have the full complement of stars and some have 13. The use of 13 became more consistent by the military at sea as time passed. The practice theoretically ended in 1916, following an executive order from then-President Woodrow Wilson, though old military traditions die hard and, according to the late Smithsonian flag expert Grace Rogers Cooper, Wilson’s order did not completely dispel the presence of 13 star flags on U.S. Navy craft.

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Two thirds of the top two stripes of the flag were purposely cut from the fly end. This is clear evidence of "souveniring," a practice carried out by military men following a either significant term of service or a notable engagement. Pieces of the flag were thus clipped and taken home as mementos. The July 3rd, 1945 newspaper article states that restorer Katharine Richey felt that the "dark brown splotches" were blood. Although these have not been tested, Richey by this time reports to have conserved almost 5,000 flags, including 200 for the Gothic Chapel at West Point and many for the State of Pennsylvania.

In summary, this exceptional 13-star flag, dating to the period between 1820 and the 1830's, and potentially earlier, is a steadfast survivor among the oldest known American national flags. With an interesting, documented history in its association with Easton, Pennsylvania and the Easton Flag, and one of the most interesting personalities in the preservation and study of historic flags, it has great folk qualities in its squared-off stars that point in various directions an in its handmade construction with a much-worn appearance. Together these factors constitute a fantastic early 19th century example.

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Condition: In addition to the above notes on souveniring and possible blood stains, there are significant tears and losses throughout, and the binding stitches at the fly end are absent, all of which serve as evidence that the flag experienced natural loss during its course of use. The foxing and staining throughout is expected. Many of my clients prefer flags to show their age and history of use. Further, the great rarity of 1840 and prior examples warrants most any condition.

Mounting & Conservation: Katharine Richey's method of flag preservation, devised by her mother, would have been a destructive process to this flag if it were not made of sound materials and if we had not removed her work. We removed thousands of stitches and her linen backing. The Smithsonian undertook the same task with the Star Spangled Banner. Following the reversal of Richey's work, fabrics of similar coloration were placed behind all of the above affected areas in preparation for the mounting process, to ghost out losses. The flag was then hand-stitched to 100% silk taffeta for support throughout the seams and the star field. It was then hand-stitched to 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash and the fabric was heat-treated for the same purpose. This process has prepared the flag for framing.

Construction: The stars are made of cotton, hand-sewn, and single-appliquéd. This means that they were applied to one side of the canton, then the blue fabric was cut from behind each star, folded over and under-hemmed, so that one appliquéd star could be viewed on both sides of the flag. This was a common method of applying the stars during this period.

Flag Size (H x L): 69" x 119"

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Pre-Civil War 13-Star Flag1830 - 1850

Pre-Civil War 13 Star Flag with Medallion Configuration | 60.5 x 85 inches

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This 13 star, antique American flag is one of the scarce few that pre-date the American Civil War (1861-65). Sewn entirely by hand and made sometime during the second quarter of the 19th century, it is constructed of hand-loomed wool bunting. The most unique feature can be found in the splendid and intriguing arrangement of stars. These are configured in what is known as a medallion pattern, but in a rare variation of it that is thus-far unique to this particular flag among documented nineteenth century examples. The design consists of 9 stars, arranged in a circular wreath with an open center. These are flanked by a single star in each corner of the blue canton. While many 13 star flags were produced throughout our nation's history, this is the only early example that I have ever encountered with this configuration of stars.

Lacking a star in the center, the design shares a characteristic with the perfect circle pattern, often attributed to Betsy Ross at the birth of our nation's flag. Flag historians now understand that the Ross story is a that developed in the last quarter of the 19th century. So despite popular notions and many depictions of flags in books, movies and other media, the absence of a star in the center of a circular design on 13 star flags is highly unusual in early America. With very rare exception, both circular and oval wreath patterns in the early periods had a star in the center.

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While an open, circular wreath can be found on images of the Stars & Stripes that appear on some colonial currency, it doesn't appear on actual flags until almost 100 years later and even then is exceptionally rare.

Beginning around 1861, 13 star medallion configurations began to appear that are similar to the one on this flag, but instead featured a single center star, surrounded by a wreath of 8 stars, with a flanking star outside it in each corner. Use of that design became frequent on small printed flags, called parade flags or "handwavers", but remained scarce among flags with pieced-and-sewn construction until the late 1890's.

Just one other flag is known with this basic design, which I acquired and sold several years ago. Sewn entirely by machine, it was probably made by the Annin Company in New York City during the first decade of the 20th century. Annin published a similar design in their 1909 catalogue.

Because there was no official star pattern for the Stars & Stripes until President Howard Taft signed an Executive Order that established one for the 48 star flag in 1912, many configurations of 13 stars are known and some were very popular among flag manufacturers. Since this medallion with an open center and a star in each corner was certainly not among them, one may speculate a reason for its offering.

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Annin is our nation’s eldest flag-maker that is still in business today. With the colonial revival that was occurring in popular interior design of the nineten-teens and twenties, and the celebration of our nation's 150th anniversary of independence in 1926, it seems logical to presume that the intent was to recreate a colonial-era star pattern. Until the discovery of this earlier, 1830-1850 example, however, I was unaware that the pattern actually existed during either the 18th or 19th centuries. Although Annin didn't incorporate until 1847, the family's roots in flag manufacture date back to the 1830's and perhaps even prior. It may be that the configuration was made or recorded by an early member of the Annin family. Since most of the firm's records were destroyed in the 1960's, that question may sadly go unanswered. Whatever the case may be, however, this earlier flag becomes first-hand proof of pre-1861 manufacture.

American flags that pre-date the Civil War fall among the very earliest that survive in present-day America, constituting less than 1% of what exists that pre-dates Taft's 1912 order. Because of their connection to American independence and the beginnings of our nation, 13 star flags are and will always be appreciated by flag collectors and enthusiasts alike. This is particularly true of the earliest examples, of which there are so few. In light of these facts and in consideration of the rarity of the star pattern, the relatively small size, and the attractive features of this beautiful textile, the flag would be an extraordinary addition to any collection.

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Construction: Hand-sewn wool bunting canton and stripes. Cotton stars, double-appliquéd (applied to both sides) with a plain weave cotton binding along the hoist.

Mounting: The flag has been hand-stitched to 100% natural fabrics for support on every seam and throughout the star field. Fabric of similar coloration was used to mask losses. The flag was then hand-stitched to a background of 100% cotton, black in color, which was washed to remove excess dye. An acid-free agent was added to the wash to further set the dye, and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. The glazing is U.V. protective Plexiglass.

Condition: There is expected wear from obvious use at the top and bottom of the hoist end, with associated fabric loss, where the wool bunting meets the binding, and at the top and bottom corners of the fly end. There are minor losses elsewhere throughout and there is minor to moderate soiling. Many of my clients prefer early flags to show their age and history of use. The flag presents beautifully and its great rarity as the only known example, and with such an early date among known examples, warrants practically any condition.

Frame Size (H x L): 60.5" x 85"

Flag Size (H x L): 48.5" x 71"

Civil War Battle Flag Of The Green Mountain Boys

Civil War Battle Flag of the Green Mountain Boys |67 x 91 inches

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Entirely hand-sewn, silk, Civil War presentation battle flag of Vermont's Green Mountain Boys, with whimsical gold text surrounded by a southern-exclusionary count of 20-stars. A portrait of George Washington was painted on a separate piece of the same blue silk at a later date and appliquéd within the ring of stars, covering the Green Mountain Boys text. This was probably done for a parade, in honor of the 1876 centennial of our nation's independence, or else to commemorate the 100-year anniversary of Washington’s inauguration in 1889. Our conservation staff carefully removed the portrait to reveal the lettering underneath, then placed it on top of the field of stripes in the lower register.

The flag has a painted eagle on the reverse with an arch of 13 stars over head. It survives as one of the most rare and exceptional, American, Civil War flags in private hands.

The flag was discovered in a home in Washington, D.C., in an attic, by a woman who was cleaning out the attic in the estate of an elderly friend. The presence of the Green Mountain Boys text was unknown at the time, because the portrait of Washington had been appliquéd on over top of it using the finest stitching that I have ever encountered on an early flag. The initial presumption was that the painting was original to the flag. I assumed that it was executed on a separate piece of fabric, simply because it was commissioned from an artist--perhaps a sign painter--who was located some distance from the town where the flag was being made.

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A flag of this nature would have been made or purchased by local individuals in order that it could be presented to a local unit as it mustered for service and left Vermont for war. Presentation flags might be sewn by local women, or they might be purchased from a professional flag-maker, or they might be constructed in part locally and in part elsewhere. Any desired embellishment, in the form of fancy painted elements, might be commissioned from an outside source if the necessary skills were not present in the local community. So theoretically it was no great surprise to see a painting carefully appliquéd in the center of the canton, on the blue same exact blue fabric, especially on a flag that was obviously produced in an especially rural area.

A flag collector that came in contact with the flag, following its discovery, automatically presumed that the 20 stars dated the textile to the period between 1818 and 1819, when we had 20 states. Given the entirely hand-sewn, silk construction and the use of gold stars, this was a logical assumption. But the painting of Washington exhibits characteristics peculiar to the Victorian era, in particular his rosy cheeks, and the painted eagle is not in a form that one would expect to find during the federal period. Federal eagles often have a turkey or snake-head form and are stylistically quite different on the whole than Civil War period eagle images. Further, the metallic paint used in the eagle and the stars was not what one would expect in the early 19th century. Such paint isn’t seen regularly in American objects until the Civil War era and afterwards. And it was not what one would expect from a professional flag-maker in any period.

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Commercially-made examples would have gilded or gilt-painted stars, which are more refined. These were instead painted to look like gilded stars, which is consistent with Vermont’s rural location. And finally, the silk appeared to be weighted with mineral salts or some other agent, that caused vertical splits and associated breakdown. This condition is common in post-1860 silk flags, but unusual in those made prior to that time. All of these traits pointed toward a Civil War date and the use of 20 stars as a Southern-exclusionary number.

Upon my recommendation, the flag was taken to a leading museum, where it was examined at a textile lab. During the examination, a lighted scope with a camera was passed down between the two pieces of blue silk that together composed the canton. Silk flags with painted elements usually employ two pieces of silk, because the pain soaks through to the other side. The two lengths are sewn back-to-back; that was the case with this flag. The scope revealed the final piece in the puzzle created by its construction and imagery: the fantastic, serpentine, “Green Mountain Boys” text behind Washington’s image.

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The 20 stars on this particular flag may represent the 35 total states between 1863 and 1864, less the 15 Slave States. Or it may represent the count of 36 states near the end of the war, less the 11 states that officially seceded by way of popular vote, ratified by the respective state congresses, less the 5 states which at that time were considered Border States and held a significant population that supported the Southern cause.

While the specific unit this flag was made for remains a mystery, as far as I am aware, this is the only known, Green Mountain Boys, Civil War battle flag in private hands.

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Construction: Entirely hand-sewn silk canton and stripes with gold painted stars, text, and eagle. There are hand-sewn silk ties along the hoist. The portrait is painted in oil on silk.

Frame Size (H x L): 66.5" x 91“

Flag Size (H x L): 53.5" x 79"

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31-Stars In a Rare Pentagon Medallion1856

31 Stars In a Rare Pentagon Medallion |29 x 23 inches |1850s

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Rare and exceptional, 31 star American parade flag made for the 1856 presidential campaign of John Frémont and William Dayton. Frémont holds the important distinction of being the nation’s first Republican presidential candidate. The Republican Party had been formed in that very same year. It was an outgrowth of the Whig party, the Liberty Party, and the “Free-Soilers”, which simultaneously evaporated, plus a portion of the American Party (the “Know-Nothings”) who more vigorously opposed slavery. Former members of all these groups united in a common goal to impede the Kansas-Nebraska Act and the spread of slavery.

Only two styles of Frémont flags are pictured in "Threads of History: Americana Recorded on Cloth, 1775 to the Present", by Herbert Ridgeway Collins, (1979, Smithsonian Press). This flag is not recorded and remains one-of-a-kind among known examples.

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Besides the obvious importance of its ties to the very roots of the Republican Party, the flag is important for other reasons. Chief among these is its configuration of stars, which are arranged in what I call a pentagon medallion. Most medallion star designs that were made during and after the Civil War have a series of circular wreaths, but this pre-war variety does not. It has a star in each corner, and the typical large center star. The center star is surrounded by a perimeter of smaller stars, which is surrounded by a pentagon formation. Finally there is a single small star at the very bottom, outside the central design. Other star patterns are known that feature a pentagon formation with various stars outside the basic pattern. Their collective existence and commonalities prove beyond doubt that there was some purpose in the star arrangement, though the reason is not yet discovered. One might logically draw a parallel between a flag with this design and the Pentagon building, which headquarters the U.S. Department of Defense, that structure was not built until WWII (1943).

It is interesting to note that another series of designs is known that are very similar. These feature the profile of a shield instead of a pentagon and there are various versions of what I have termed a "shield medallion".

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The flag is printed on fine cotton and the lettering is overprinted in black ink. The original, hand-made wooden staff survives along the hoist end, where the flag is tacked to it in three places. Note the additional length of white that is present beyond the fly end and below the last stripe. This meant that there was a lot more white space than usual present on the bolt of fabric that was used to print the flag. The fact that these white areas were not trimmed adds visual interest to the presentation of the flag. I know of other pre-Civil War parade flags that share this trait, which is less often seen on later examples.

Of further interest in the pre-war date itself, and the fact that John Frémont played an interesting role in the settling of California, which was the 31st state. California, entered the Union on September 9th, 1850, immediately following the Gold Rush. The 31 star flag was official from 1851-1858. Flags made prior to the Civil War are extremely rare, comprising less than one percent of 19th century flags that exist in the 21st century. This is partly because, prior to the Centennial, our flag was simply not used for most of the same purposes we employ it in today. Private individuals did not typically display the flag in their yards and on their porches. Parade flags did not often fly from carriages and horses. Places of business rarely hung flags in their windows. Use of the Stars and Stripes for these purposes began to rise swiftly during the patriotism that surrounded the Civil War, but civilian use of the flag was not widespread until 1876.

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Even the military did not use the flag in a manner that most people might think. The primary purpose before the Civil War was to mark ships on the open seas. While the flag was used to mark some garrisons, the flags of ground troops were often limited to the flag of their own regiment and a Federal standard. Most people would be surprised to learn that the infantry wasn’t authorized to carry the Stars & Stripes until 1837, and even then did not often exercise the right, because it was neither required nor customary. It was not until the Civil War took place that most U.S. ground forces even bothered to carry the national flag.

John Charles Frémont was born in Savannah, GA on January 21st, 1813. The illegitimate son of a poor, French refugee and a prominent Virginia society woman, Frémont improved his social status by marrying Jessie Benton, daughter of Thomas Hart Benton, a leading Democrat and slave-owner. Nicknamed “The Pathfinder”, Frémont led expeditions in the west both prior to and during the Mexican War. He is credited as being the first Caucasian to view Lake Tahoe, and he made the determination that the Great Basin didn’t open to the sea. During the Mexican War, he led a unit into California to defeat General Pico. In doing so, Frémont’s men captured the Presidio and the surrounding area, and though Pico was in Los Angeles at the time, Pico realized that the war was effectively over and later surrendered.

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Frémont proclaimed himself Military Governor of California in 1847, only to be brought up on charges of treason by a higher ranking Army officer, but pardoned by President Polk because of his contributions to the war. Frémont went on to become one of California’s first two senators, and he became rich in the Gold Rush. In 1856, Frémont’s popularity and hard stance on the abolition of slavery led him to become the youngest man to ever run for the White House, and the first to run on an anti-slavery ticket. He was defeated by James Buchanan because the slave states threatened to secede and the nation as a whole was not ready for the great separation that would follow.

Lincoln appointed Frémont major general in May of 1861 and placed him in charge of the Department of the West. He personally fronted a good deal of money for the war effort, but was removed from duty for insubordination due to his freewheeling approach to the seizure of secessionist property and the emancipation of slaves. Republican allies supporting Frémont caused Lincoln to reconsider and reappointed him in 1862 to the newly formed Mountain Department, but Frémont resigned a couple of months later because of further differences. He was generally unsuccessful as a military leader, suffering several major defeats. He did begin another presidential bid in 1864, siding with the Radical Republicans, but eventually he withdrew and supported Lincoln. Frémont became territorial governor of Arizona in the 1870’s and died in New York City in 1890.

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William Lewis Dayton was born in Basking Ridge, New Jersey in 1807. Dayton was an attorney and Judge who became a United States Senator representing New Jersey, serving the Whig Party in Congress from 1841 – 1851. He returned to law before being selected as the first Republican vice presidential candidate in 1856. After defeat, he served as New Jersey’s Attorney General from 1857-1861. He was then appointed Minister to France, a post he served until his death in 1864.

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Abraham Lincoln Memorial Banner1909

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Abraham Lincoln Memorial Banner with a Dramatic Portrait Image | 79 x 68 inches

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Early banners depicting portraits of American presidents are highly desired by collectors of political memorabilia, but none as much as those made for Abraham Lincoln. This particular banner was not made as a campaign piece, but rather in memoriam of the beloved president. It was either made during the last decade of the 19th century out of general patriotism, or very likely in 1909 in celebration of the 100-year anniversary of Lincoln's birth, which was pursued with great fanfare. I know of no others to have survived in this exact style, which shows an especially attractive, bearded portrait image.

The portrait is executed with a combination of block printing and hand painting. The head was printed with either a copperplate or wood block, which the jacket and background with filled in by hand. The portrait is a youthful adaptation of a popular engraving, the likeness of which was based on a photograph taken by Andrew Berger at the studio of Matthew Brady.

Because all early Lincoln banners are rare, especially those large in scale, the acquisition of this rather dynamic example was an extraordinary find. It appears to be very similar to a banner hung on the town hall in St. Albans, Maine in 1909 for the Lincoln centennial. The portrait on the St. Albans banner different, and the photo was taken at a distance, but close inspection reveals that it is clearly similar in nature.

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Mounting: The banner has been hand-stitched to 100% cotton, black in color, which has been washed to reduce excess pigment. And acid-free agent was added to the wash to further set the pigment and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. The glazing is U.V. protective acrylic.

Frame Size (H x L): Approx: 79" x 67.5"

Flag Size (H x L): 65" x 56.5"

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The American Eagle Drinks From the Goblet of Life

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The American Eagle Drinks from the Goblet Of Life | 15 x 17 x 3 inches

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The Goddess of Liberty hands the Goblet of Life or the Holy Grail to the American eagle, an early to mid-19th century watercolor on paper, married to a ca 1870, puzzle-work frame that is simply a masterpiece of American Tramp Art. A hand-painted mat frames the work in an oval window, framing it with shafts of wheat. This moving combination of American mythology and folk art is a naive work based on a 1796 engraving by Edward Savage (1761-1817). Savage's work is entitled "Liberty in the Form of the Goddess of Youth Giving Support to the Bald Eagle". There is an important naive painting at the National Gallery of Art that is loosely based on the engraving. There is also an 1804 needlework embroidery that reproduces the image, by 16-year old Mary Green of Worchester, Massachusetts (at the Worcester Art Museum). Savage had galleries in Boston and New York.

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Condition: Painting has a couple of lighter areas, maybe original and maybe not. Very minor losses on the sharp ears of the frame, which survives in an extraordinary state of preservation.

Size: 15.25" w x 17" h x 2.5" d

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Rare Suffragette Sash 1910 - 1920

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Rare Suffragette Sash | 34 x 21 inches

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Suffragette sash made from wide, silk, yellow and white ribbon with black lettering on either side that reads: "Votes for Women". Violet and yellow were the customary colors of the suffrage movement in America, though red, white and blue objects are also seen.

Suffragette textiles are particularly scarce and sought-after. Sashes are usually clipped so that two lengths of fabric can be sold to collectors, each with a slogan. Full length examples are seldom encountered. This one survives in excellent condition.

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Rare New York "Votes For Women" Pennant 1911-1920

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Rare New York Votes For Women Pennant with an Image of A 1911 Statuette Called Suffragist | Ella Buchannan 1911-1920

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Triangular, felt, suffragette pennant distributed by the New York chapter of the Women's Suffrage Party (WSP). Printed in black on a yellow ground with fanciful lettering are the words "Votes for Women", accompanied by an image of a 1911 statuette by Ella Buchannan entitled the "The Suffragist Among Her Sisters". The suffragist is shown blowing her clarion over the figures of degradation, vanity, conventionality, and wage earner.

There are many types of Suffragette pennants, all of which are very desirable. Among them this is a standout and a very rare example. Versions of this style are documented in at least two text, including "Threads of History" by Herbert Ridgeway Collins (1979, Smithsonian Press) and a journal-like publication on Suffragette items published by the American Political Items Collectors (APIC).

The meaning behind the imagery, the rarity, and the New York relationship combined make for a stellar example.

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Mounting: The textile has been hand-stitched to a background 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye, which was heat-treated for the same purpose. The mount was then placed in a modern, black-painted molding with a traditional profile and a gilded inner edge. The glazing is U.V. protective acrylic.

Condition: There are no serious condition issues.

Frame Size: 33.5” x 21”

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28-Star Flag1845 - 46

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American national flags with 28 stars, made at the time when Texas gained statehood, are among the most rare and desirable of the 19th century. Almost no period examples exist, however, and most major collections of early flags that have been assembled over the years have not included one. Part of the reason why 28 star flags are practically nonexistent is that the star count was official for only one year. Texas became the 28th state on December 29th, 1845. After the Third Flag Act, passed April 4th, 1818, stars were officially added to the American flag on the 4th of July following a state's addition. This meant that the star for Texas would theoretically have been added on July 4th, 1846. Because the makers of flags both private and public cared little for the acts of Congress, however, the 28th star would have been added by most makers at the time of the state's addition, or even perhaps beforehand, in hopeful anticipation of the event. The practice of making anticipatory flags was popular with a nation eager for expansion.

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Iowa became the 29th state on December 28th, 1846, just one day shy of a year following Texas' addition. While the 29th star was not officially added until July 4th, 1847, most flag-makers would have once again added it on or before Iowa's admission. So the production of 28 star flags had a window of approximately one year in length, which meant that it was one of the shortest lasting star counts in American history.

Another reason that 28 star flags are so scarce is that they were produced during a time before the Stars & Stripes was in widespread use. Prior to the Confederate attack on Fort Sumter, the flag was simply not employed for many of the same purposes that we employ it in today. Private individuals did not typically display the flag in their yards and on their porches. Parade flags didn't often fly from carriages and horses. Places of business rarely hung flags in their windows. The original function was to mark American ships and most flags made in or before 1860 were made for military or government purpose. Private use of the national flag blossomed during the patriotism that accompanied the Civil War, exploded in 1876, and has grown ever since.

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Prior to the Civil War, even the military did not use the flag in a manner that most people might think. Most people would be surprised to learn that the infantry wasn’t authorized to carry the Stars & Stripes until the 1830’s, and even then did not often exercise the right, because it was neither required nor customary. For all of the above reasons, American national flags made prior to the Civil War are extremely rare, comprising less than one percent of 19th century flags that have survived into the 21st century. If rarity is one driver of desirability, relevance to a significant population of capable collectors is another. Before 1836, Mexico considered Texas part of its own territory. In that year a revolution was launched that resulted in independence. For the next nine years, the Republic of Texas was a nation unto itself and selected its own president. Texas statehood, in 1845, was immediately followed by war with Mexico, which contested its ownership. The war was short, beginning in 1846, concluding in 1847, and consummated by the Treaty of Guadalupe Hidalgo on February 2nd, 1848.

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In addition to being the largest body of land among the contiguous 48 states, the circumstance of Texas having been an independent entity was unique (until Hawaii joined the Union 114 years later) and is perhaps one reason why Texas patriotism has remained so keen. It is also a state where great wealth was amassed from American capitalism in land-driven enterprises such as ranching and oil. Success in these businesses played its own role in the development of independent-minded men and women, a significant portion of whom are proud to be Texans first and Americans second. Many are fascinated with the history of the Republic, its role as part of the American South, and the combined heritage of Texas and America together.

Because few would argue that the state-associated patriotism of Texans is self- evident to the point of being legendary, the relevance of a period Texas flag in the antiques marketplace is formidable. At the same time, the number of surviving 28 star flags is tiny. I have seen perhaps more than five but fewer than ten. The only one I have been privileged to own I sold perhaps twelve years ago. All known examples are of pieced-and-sewn construction. While the first printed parade flags surfaced during the period when we had 26 states (1837-1844), no printed flags exist in the 28 star count.

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Construction: The flag is entirely hand-sewn. Its canton and stripes are made of wool bunting, which was the fabric of choice for all nautical flags, as well as those made for extended outdoor use on garrisons and other structures. The stars of the flag are made of cotton and single-appliquéd. This means that they were applied to one side of the canton, then the fabric was cut from behind each star, folded over, and under-hemmed, so that one appliquéd star could be visible on both sides. While some flag experts have suggested that this method was a means of conserving fabric, since the maker didn’t have to sew a star to both sides, others suggest that the real purpose was to make the flag lighter in weight. I believe it may have been a function of both of these goals. I always find single- appliquéd stars more interesting, both because they are evidence of a more difficult level of seam-work and stitchery and because with two rows of stitching instead of one, they naturally appear earlier and more hand-made. This method of construction tends to be seen on earlier flags, especially those made during the Civil War era and prior.

The stars are configured in 4 rows of 7. Note how they point in various directions on their vertical axis, which adds a nice visual quality to the design. There is a coarse linen sleeve along the hoist end, through which a twisted hemp rope was threaded and affixed. The purpose of the manufacture of this particular flag may have been nautical. Open sleeves with inserted ropes were preferred by the U.S. Navy during the mid 19th century. Because the method distributed force along the length of the hoist, it was a logical choice for the open ocean, where winds were uninhibited by geographic features and man-made structures.

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Mounting: The flag has been hand-sewn to 100% silk organza throughout for support. It was then hand-stitched to 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. The glazing is U.V. protective acrylic. Condition: There is significant loss along the fly end from obvious extended use, accompanied by a moderate tear with associated loss along the top of the canton and minor losses elsewhere, some of which are indicative of minor mothing. There are minor stains and oxidation. Many of my clients prefer early flags to show their age and history of use. The great rarity of this flag warrants practically any condition. The flag presents beautifully.

Flag Size : 46.5" x 81“

Frame Size : Approx. 58.5" x 92"

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28-Star Flag (detail)| 58.5 x 92 inches

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31-Star Flag 1850 - 1858

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31-Star Flag | 58.5 x 92 inches

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31 star American national parade flag, printed on cotton, with its stars arranged in a configuration that falls among the best that one may ever encounter on a 19th century example. This fanciful design can perhaps be placed into the general category of what I have termed "starbursts", meaning that there is dynamic pattern that seems to spring forth from the center, in a manner similar to the explosion of a firework. This particular starburst features what is called the "Great Star" or "Great Luminary" configuration (a large star made out of smaller stars) in the center. Great Star patterns vary widely in the way that they are assembled. In this case the pattern is comprised of a huge center star, with 5 small stars placed about it, one between each arm, so that they form a pentagon. Beyond these are 5 slightly larger stars, placed so that they complete the star-shaped profile. 9 large stars, slightly smaller than the one in the center, flank the Great Star on every side, laterally and diagonally, to form a rectangle. Groups of 3 stars flank each interior corner in convex arches, connecting points along the perimeter. Because the five-pointed Great Star does not connect with the stars outside it in a consistent fashion, one could certainly argue that a more precise term for the configuration might be a Great Star-in-a- square, with bracketed corners. But the inner stars do connect with the outer in various distinct ways.

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Note the prominent, narrow "V" shape, for example, that forks upward from the large star in the bottom center, as well as others that work off of this pattern at distinct angles to either side. For this reason, as well as the overall appearance, classification among other known starbursts seems logical. Note how the large center star, the Great Star pattern, and the 9 large stars, all appear upside-down with respect to how we typically expect to see a five-pointed star today, having two points up instead of one. No one knows if this orientation had any purpose.

It is entirely possible that the designer did not feel that any particular position was “right-side-up”, but whatever the case may be, the circumstance is more interesting to collectors and the resulting graphics are more unusual to the eye. In the world of antique American flags there are nearly countless star patterns, but most have lineal rows or columns. Some have circular designs, which are further down the rarity scale. The Great Star is much more scarce and highly coveted, and can be among the very best visually, but there are rarer configurations still. Among these are circles within squares, pentagons, ovals, and completely random patterns.

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There are flags where the stars actually spell something with alphabetic or numeric characters, some of which are among the rarest of all, but with regard to geometric configurations, the rarest--and arguably the most beautiful--are diamonds, shields, snowflakes, and starbursts (with occasional, unique exceptions). From a folk art perspective, these can excel beyond all others. This particular flag is no exception. Bold and whimsical, note how the utilization of stars in four different sizes contributes to its dynamic presentation. California became the 31st state in 1850, ushered in on the heels of the 1849 Gold Rush. The 31 star flag became official on July 4th, 1851, and remained so until July 3rd of 1858. Flags made prior to the Civil War are extremely rare, comprising less than one percent of 19th century flags that exist in the 21st century. Prior to the Confederate attack on Fort Sumter in 1861, the Stars & Stripes was simply not used for most of the same purposes we employ it in today.

Private individuals did not typically display the flag in their yards and on their porches. Parade flags didn't often fly from carriages and horses. Places of business rarely hung flags in their windows. Even the military did not use the national flag in a manner that most people might think. Most people are surprised to learn that the infantry wasn’t authorized to carry the Stars & Stripes until the 1830’s, and even then did not often exercise the right, because it was neither required nor customary. The primary purpose before the Mexican War (1846- 48) was to mark ships on the open seas.

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While the flag was used to mark garrisons and government buildings, the flags of ground troops were often limited to the flag of their own regiment and a federal standard. Political campaigns seem to have fueled most of the use of printed parade flags, such as this one, prior to the Civil War. This was a major turning point and private use rose swiftly with wartime patriotism, then exploded in 1876 with the celebration of our nation's 100-year anniversary of independence from Great Britain.

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Mounting: The gilded American molding has a reeded profile and dates to the period between 1850 and 1870. The flag has been hand-stitched to 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. Spacers keep the textile away from the glass, which is U.V. protective.

Condition: There is minor foxing and staining and there is very minor fraying, but the flag presents beautifully and there are no serious condition issues. Many of my clients prefer early flags to show their age and history of use.

Flag Size (H x L): 12.5" x 18.25“

Frame Size (H x L): 21" x 27"

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34-Star Flag 1861 - 1863

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34 Stars (1861 – 1863)| 60.75 x 72.25 inches

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34 star American national flag with some characteristic that are both unusual and boldly visual. The fact that the canton rests on a red stripe, instead of white, is a very rare trait. Some flag historians refer to this as the “blood stripe” or the “war stripe”, suggesting the flag was constructed in this manner when the nation was at war. There is also evidence, however, that the Navy used this design feature on at least some of its flags made during the mid-19th century. In this case, however, this is a Civil War period flag with a clear wartime message present in this feature.

The form of the flag is grossly exaggerated in length. This is sometimes the case with flags that have cantons on the war stripe. The canton can either be moved up a stripe or down a stripe to accomplish the change from the normal position. More often it is moved upward, thus the height of the canton is shortened, but the length of the canton is not adjusted. This results in a small, almost square canton on a long field of stripes, such as the one present on this flag. The elongated stripes allowed the flag to be folded back and forth in its frame to create an interesting presentation. It was folded in a 3-D fashion through the use of archival materials, so that the flag appears to be billowing in the wind.

The canton of the flag is made of very fine wool, or a wool and silk blend, in an attractive shade of light blue with green and gray overtones. The unusual color sets the flag apart from others of this period.

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The tassels at the hoist end are also very strange. Each is made of a turned piece of wood, which is wrapped in tufted wool, draped at the end with twisted woolen cord, and attached to the flag with a type of woolen covered cording that is often seen in various Civil War military items. The wooden center of the red tassel is wrapped in red thread, part of which is unraveled and absent. The other tassel bears the same dusty blue color as the canton, and its center is different. A spiral groove is hand-carved down the wooden core, and a piece of fancy silk ribbon runs through this ditch. One might suggest that this color is a result of fading or a fugitive, home-dyed process, but it may be that the scarcity of blue fabric resulted in the choice of fabrics. Based upon surviving Civil War flags, it is obvious that blue cotton was a scarcity. There was no official shade of blue for the American flag until 1912, and flag-makers use what they wished. Such creativity is the lifeblood of folk art in early Stars & Stripes. The stars of the flag point in all directions and there is lots of variation in their whimsical, starfish-like shapes. Made of cotton that has lightly oxidized to an attractive, golden brown color, the stars are double-appliquéd (applied to both sides) and placed in loosely defined rows of 9-8- 8-9. The flag is entirely hand-sewn with the same kind of fine stitching and great precision that is seen in the silk battle flags of this same period and prior.

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The stripes are made of cotton bunting. There are five, tiny, hand-sewn, whip-stitched grommets which are unusual because they are sewn into the weak cotton bunting, yet rely on the cotton reinforced binding along the hoist end to keep them from tearing. A cotton tie is threaded through each grommet. Despite the fact that cotton is a poor fabric choice for outdoor use, the tassels and the construction of the flag suggest that it was none-the-less carried by a Civil War unit. Probably it was presented by local women and carried until its formal colors were issued by the state, then put away only to be unfurled at special occasions. This would explain why it shows signs of obvious use but is in an excellent state of preservation. Because the flags ordered by the military and used for recruiting were officially about the same size, with this exaggerated length (but without the war stripe feature), an alternative suggestion would be that the flag was made locally to mimic the official recruiting flags in size and shape, to be used by a local officer or official when recruiting new men to the service of the Union cause.

Kansas was admitted into the Union as the 34th state on January 29th, 1861, about 2 ½ months before the Confederate assault on Fort Sumter that marked the beginning of the Civil War. The 34th star was officially added on July 4th of that year, but most flag makers would have added a 34th star with the addition of Kansas in January. The star count remained official until July 4th, 1863, and 34 star flags would have been produced until the addition of West Virginia in June of that year.

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Mounting: The flag was stitched to 100% silk organza for support on every seam and throughout the star field. Where necessary, 100% natural fabrics were placed behind the flag for masking purposes. Mylar was used to create the raised folds. The flag was then hand-stitched to its background of 100% cotton twill, black in color, which was washed to remove excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. A shadow-box was created to accommodate the tassels and folds. The glazing is U.V. protective acrylic.

Condition: The flag is in an excellent state of preservation for the period. There is minimal wind shear damage at the top corner of the fly end and minor mothing in the canton. Some of the thread wrap is absent from the core of the red tassel. Otherwise there are no significant condition issues.

Frame Size (H x L): 60.75" x 72.25"

Flag Size (H x L): With 3D Folds: 51" x 66"

Unfurled: 51" x 103.5"

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38-Star Flag 1876 – 1889

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38-Star Flag (1876 – 1889) | 79 x 114.25 inches

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38 star American national flag with its stars arranged in one of the best configurations that exists among surviving 19th century examples. This consists of a dynamic pattern that appears to burst outward from the center into what I have termed a “cross” or “starburst” medallion.

Note how the Southern Cross is present in the design, formed by the two diagonal lines that run corner-to-corner in the canton. With this in mind, accompanied by the knowledge that there are other known Stars & Stripes of the Civil War and post-war era that share the same feature, the assumption can be made that the flag may have been produced with Southern sympathies. Symbolism of this kind, both obvious and subtle, abounds in Civil War era flags. This was, of course, a time of great passion and expression, and since there was no official way to configure the stars on the American national flag until 1912, flag-makers took all manner of liberties to both send messages and create beautiful imagery. When either of these two things exists, the interest among collectors is heightened, but when both exist, the increase in desirability becomes exponential. This is especially true when there is an association with the South, as 19th century Confederate items almost universally draw higher prices than their respective Union counterparts. But whether the flag bears Southern sympathies or not, the configuration of the stars on this example is so unusual and so extraordinarily graphic that it easily falls in the top 1% of those known to exist.

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The 38th state, Colorado, gained statehood on August 1st, 1876. The flag was official from July 4th, 1877-July 3rd, 1889. Because flag making was competitive venture, no one wanted to be making 37 star flags with others were making 38’s. Flag makers paid little heed to official star counts and would have begun producing 38 star flag from the centennial sometime in the early part of 1876. This flag was probably produced in the years, both because dynamic star patterns are extremely rare after the centennial and because flag makers used more interesting designs in celebration of the nation’s 100 year anniversary of independence.

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Construction: The flag is entirely hand-sewn save for the twill cotton sleeve, which was applied with treadle stitching. The stars of the flag are made of cotton and double-appliquéd. This means that they were applied to both sides of the Prussian blue canton. The canton and stripes are made entirely of fine merino wool. Six small brass ringlets were once present along the hoist, one of which is now absent.

Mounting: The flag has been hand-stitched to 100% natural fabrics for support on every seam and throughout the star field. It was then hand-sewn to a background of 100% cotton twill, black in color, that has been washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat- treated for the same purpose. The mount was then placed into a black-painted, hand-gilded and distressed Italian molding. The glazing is U.V. protective acrylic.

Frame Size: 79" x 114.25"

Flag Size: 68" x 103"

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American Over-Door Eagle 1830 - 1860

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American Over-Door Eagle (1830 – 1860) 12.5 x 58 x 2 inches

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Elegant form, expert carving, and an early date are not the only attributes worthy of mention in this beautiful example of a carved American eagle. Made between 1830 and 1860 of solid walnut, the bird retains its original, 19th century varnish that has been untouched over time, resulting in a dry, original surface with the most attractive and desirable patina that a collector might wish for. Although it can hang on a flat wall with no issue whatsoever, the reverse is constructed in an unusual manner, made so that the feet, tail, billowing flag and arrows would drape down over the molding of a door.

Many carved eagles of this nature are small. With a wing span of nearly five feet, the large expanse but low profile (approximately one foot tall) form leaves room for a lot of possible applications when hanging it in a house. Over a doorway, over a framed flag or a painting: these are all possibilities where the carving have great visual impact. My favorite attributes are the graceful curve of the neck and the execution of the brow and beak, the way this is framed by the bent wings with their protruding arch, the treatment of the cornucopia and the style of the relief in the feathers.

All-in-all a terrific example of early American patriotic design. Probably of Pennsylvania origin.

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Condition: There are no issues besides very light wear. The blunt way in which the wing tips and tail terminate are original to the work.

Size (H x L): 12.5” tall x 58” wide x 2” deep

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Civil War Period Confederate Flag

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Civil War Period Confederate Flag |45.5 x 68.75 inches

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This very unusual and particularly beautiful Confederate flag is pieced and sewn of scarlet red, crinkle chiffon silk and silk ribbon, white silk charmeuse, and light blue satin. The Confederacy had three successive national designs and this is the third and final, in official use for just 36 days before Lee's surrender at Appomattox.

The first Confederate national flag looked much like the Stars & Stripes. Also known as "The Stars & Bars," it initially consisted of 7 white stars arranged on a blue canton and three linear stripes, which were instead termed "bars" (2 red with 1 white in-between). As more states seceded, more stars were added, growing to 11 "officially," but sometimes with 13 stars to include Missouri and Kentucky or with a greater number to include more Border States.

Use of the Stars & Stripes and the Stars & Bars on the same battlefield created great confusion. For this reason, the second national Confederate flag was adopted on May 26th, 1863. Known as the Stainless Banner, it was white in color, with the Southern Cross (a.k.a. the Confederate Battle Flag) serving as its canton. Soldiers and officers alike disliked this design because it looked too much like a flag of truce, especially if a unit that was carrying it was headed straight at you and there was no cross wind. If given the opportunity, soldiers would dip the fly end of the flag in blood.

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Near the war's end, a red vertical bar was added at the fly end and the result became the third national design. Nicknamed the “blood stained banner,” the red did not officially represent blood, according to the Confederate legislature, but rather paid homage to the French, who lent aid to the South during the war. If one were to replace the first two third of the third Confederate national flag, adjacent to the hoist end, with a blue vertical bar, the result would be the French tri-color (the national flag of France). Major Arthur Rogers, however, who redesigned the flag, noted the inadequacies of the Stainless Banner as a military signal and described this new version as having "as little as possible of the Yankee blue."

Because the third national pattern was so short-lived, there was no chance for it to be produced in any quantity. Regimental battle colors were not made in this style and nearly nothing that is war period survives in this interesting design. While the flag has experienced significant soiling, as well as breakdown of the silk fabrics, it was probably not carried in the field. The losses are primarily a result of weighting agents added by silk merchants to increase its value. The purpose of the flag was more likely for general patriotic purpose or as a gift to a significant Confederate military or governmental figure. The use of expensive fabrics supports this theory.

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The flag was found with a note, typewritten on ruled paper, that read: "Grandpa Loveland got this rebel flag in Georgia and brought it home when he got discharged from the army. / The quilts were made by aunt Anna / Please keep them in a safe place." Sadly, Loveland's first name and identity remain unknown. Interestingly enough, there was a man by the name of Loveland who fought with the Michigan regiment that captured Jefferson Davis in Georgia, along with his family and a large contingent of his staff, but good records exist regarding their movements and roster and Loveland was not present with the unit in Georgia, nor in the months that immediately preceded the historic event.

Because the lifespan of the 3rd national pattern flag was so short, the most interesting thing about this particular flag is the extreme scarcity of war era examples. Unlike the North, where victory was celebrated and Union veterans' groups organized almost immediately, resulting in the demand for Stars & Stripes flags and lots of patriotic regalia, defeat and the illegality of the organized gathering of military men in the South delayed the production of pro-Confederate flags and banners after the war. It wasn't until well after the end of Reconstruction in 1876 that Southern counterparts to the Grand Army of the Republic, the Union Army's primary veteran's organization, and the Women's Relief Corps, its female contingent, came forth to celebrate their own military brotherhood and Southern heritage.

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The United Daughters of the Confederacy (UDC), established in 1884, actually pre-dating the organizations populated by men. The United Confederate Veterans (UCV), formed in 1889 and served as the primary post-war organization for Confederate soldiers. The women came first because it was safer for them to organize.

Poverty in the South following the war also contributed to a lack of veteran's material and Confederate reunion flags don't appear to have been produced in any great quantity until the 20th century. This is another reason why there is but a very scant number of Confederate flags that survive that date between the tail end of the Civil War and 1865. Almost all flags in the 3rd national pattern specifically are post-1890.

The combination of the bold visual presence of this flag, fine, expensive fabrics, and scarcity provide for a wonderful example.

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Construction: The canton of the flag is made of red, crinkle chiffon silk, with appliquéd blue satin and white sait stars that are double-appliquéd (applied to both sides). The white field is made of plain weave silk charmeuse and the red bar is of the same red fabric used in the canton. There are three ties along the hoist, made of made of red silk ribbon, and the perimeter was bound in the same white silk that was used in the field. The entire flag was pieced and appliquéd with treadle stitching.

Mounting: This is a pressure-mount between U.V. protective acrylic and 100% cotton twill, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose.

Condition: There is substantial breakdown in the silk fabric throughout, caused by the addition of weighting agents in the silk fabric. This is common in silk flags of the Civil war period and after, through the 1st quarter of the 20th century. 100% natural fabrics of similar coloration were placed behind the flag for masking purposes. There is minor water staining throughout. many of my clients prefer early flags to show their age and history of use.

Frame Size (H x L): 45.5" x 68.75

Flag Size (H x L): 45.5" x 68.75

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44-Stars, Wyoming Statehood 1890 - 1896

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44-Stars, Wyoming Statehood (1860 - 1896) |45.5 x 68.75 inches

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44 star American parade flag with triple wreath medallion star configuration, printed on cotton. This highly desired star pattern is seen primarily in flags made between the Civil War (1861-65) and the nation’s centennial (1876). Medallion configurations, however, are extremely rare in flags with greater than 38 stars, and that is one reason why this particular stars and stripes is so highly sought after by advanced parade flag collectors.

Note how the orderly circular arrangement of such a large star count is reminiscent of a clear summer night sky, filled with stars. Also note that the proportions of the flag are rather square, which provides some additional visual impact to this great example of 19th century flag-making. The hoist end is bound with hand-stitching.

The 44th state, Wyoming, gained statehood on July 10th, 1890. Many flag makers would have began to add a 44th star to their flags on or before that day, and the 44 star flag would have generally seen use until the addition of Utah in 1896.

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Mounting: Then flag has been hand-sewn to a background of 100% cotton twill, black in color. The cotton was washed to remove excess dye. An acid- free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. The flag was then placed in a black painted, hand-gilded and distressed Italian molding. The front is U.V. protective acrylic.

Condition: There is moderate fading of the red stripes.

Frame size: 35.25” x 41.5”

Flag size: 24.25” x 30.5”

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The Declaration of Independence on Cloth 1821

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The Declaration of Independence on Cloth (1821) |32 x 28 inches

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Printed in mulberry ink on cotton, this kerchief-style broadside is one of the earliest known renditions of the Declaration of Independence rendered on cloth. The text appears within a wreath of oak leaves, interspersed with circular medallions that contain the seals of the thirteen colonies. This is crowned by whimsical portraits of George Washington, John Adams, and Thomas Jefferson. An American eagle flies above celebratory flags and banners over the Presidents’ heads, with the names “Hamilton” and “Putnam” in banners to the left and right.

Revolutionary scenes fill the bottom corners. One depicts “The Patriotic Bostonians discharging the British Ships in Boston Harbour,” and the other illustrates “General Burgoyne’s Surrender to General Gates at Saratoga.” The entire piece is surrounded by a militaristic border of cannon, cannon balls, anchors, flowers, and gadrooning (rope-like decoration).

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Examples of this rare textile exist with two other border styles. One of these has grape vines, beehives, flags and scrolls. Another has six-pointed stars amid braided ropes or chains, with anchors in the corners. Slight variations of this sort is common across pre-Civil War political flags and kerchiefs, which often exist in several different forms that are nearly but not precisely identical. Printers and engravers seem to have preferred the production of designs with subtle differences. Three color variations are also known. In addition to mulberry, blue and black (or sepia) versions exist. In other pre-1830 American political kerchiefs and yard goods (textiles sold by the yard), these three color combinations are likewise found.

Two examples of this style of kerchief are recorded in the landmark book “Threads of History: Americana Recorded on Cloth, 1775 to the Present” by Herbert Ridgeway Collins (1979, Smithsonian Press). Each is in a different color combination. Item 23 (p. 57), black and white, resides at the Smithsonian’s own Cooper-Hewitt museum, while item 58 (p. 72), blue and white, is part of the collection at Winterthur. The Cooper-Hewitt example is listed simply as “19th century” and noted as “English or American”, while the Winterthur example is labeled with a date of 1820-1825 and labeled as “English”.

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It is of great interest to note that period documentation of manufacture of these kerchiefs was recently discovered. The textiles were produced for the American market by Robert & Collin Gillespie in Anderston (near Glascow), Scotland. In 1821, an announcement was published in newspapers in major cities up and down the east coast. It read:

"We have received (says a New-York paper) from Collin Gillespie, Esq. of Glasgow, formerly of this city, two Handkerchiefs, the finest specimens of printing on cambric ever produced. The design is a facsimile of Binn’s superb print of the declaration of Independence, and contains the signatures of the illustrious signers with great exactness. In one corner is a representation of the “patriotic Bostonians discharging the British ships in Boston harbor,” of their cargoes of tea; and in the other the surrender of Burgoyne to Gates at Saratoga. In a branch of laurel, on each side, is inscribed the name of Hamilton and Putnam, and the likenesses of Washington, Adams, and Jefferson. The only deviation from the print, is the omission of the portrait of John Hancock."

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John Binns began taking subscriptions to fund a facsimile of the original Declaration of Independence in 1816, but failed to produce the work until April of 1819. In the meantime, rival printer, Benjamin Owen Tyler, became the first to publish an engraved rendition in 1818. These appeared on parchment, velum, linen and silk, in a simple, unembellished style without pictorial imagery. Today approximately four of Tyler's engravings are estimated to survive that are printed on cloth.

While Binns was carefully developing his design, its concept is said to have been stolen by William Woodruff, who formerly worked for an employee of Binns' by the name of George Murray. Murray was responsible for the Arms of the United States and the 13 state seals on the Binns version. Woodruff produced a very similar printing with minor changes, including calligraphic signatures and the replacement of John Hancock's portrait with one of John Adams. He did so at cheaper cost and released his version two months before Binns, in February of 1819.

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Collin Gillespie was a textile manufacturer and merchant who emigrated to the United States from Scotland in 1793 and became a citizen in 1798. He traveled back and forth between his home countries as the head of the Collin Gillespie & Company merchant faction. His brother, Robert Gillespie took control of the cotton spinning and textile printing factories in 1808 or 1809. It is likely that Collin brought both the Binns and Woodruff copies to his brother to reproduce on cloth. Gillespie adapted Binns’ signatures and Woodruff’s portraits, then expounded on both to create a more elaborate representation. Patriotic sentiments for his adopted country, and/or an understanding of its populous, probably influenced the illustrations in the bottom corners. The kerchief's large scale and exceptional graphics provide significant visual impact.

The first identical copies of the Declaration of Independence were not made until 1823. With the fifty- year anniversary of the document at hand, fear of the degradation of the original caused John Quincy Adams to seek out the services of William J. Stone of Washington, D.C., who soaked the original in order to make a copperplate engraving. Stone then printed a copy on rice paper for each state and each surviving signer. It was not copied again until 1843, when the Stone plate was allowed to be used by Peter Force for another printing that was inserted in a book.

149

The large size of this particular style of kerchief and its exceptional graphic qualities lend significant measure to its visual impact. When combined with such an early date, as well as the distinction of having been one of the earliest printings of our nation’s most important document, the result is an extraordinary stand-out among America’s first known political textiles.*

"Hankerchiefs", The Farmers' Cabinet (Amherst, New Hampshire, vol. 19, iss. 35, May 19th, 1821), p. 3.

151

Mounting: The textile has been hand-stitched to 100% cotton twill, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. Fabric of similar coloration was placed behind the textile during the mounting process, both to mask losses and to offer a further barrier between it and the black background. The mount was placed in a black-painted, hand-gilded and distressed Italian molding. The glazing is U.V. protective acrylic.

Condition: There is moderate overall fading and minor staining. The textile was professionally cleaned and de-acidified. There is a 2.5-inch tear in the top right corner and there are a couple of tiny holes in the body of the textile. There are losses in the bottom 2 corners in the top left corner. Fabric of similar coloration was placed behind these areas and professionally painted to match with the appropriate patterns. The great rarity of the textile and its early date warrant almost any condition.

Kerchief Size (H x L): 32” x 28”

Frame Size (H x L): 43.25” x 39.5”

153

Centennial International Exposition1876

154

Centennial International Exposition (1876) | 52.25 x 44.25 inches

156

This Extraordinary block printed textile would have been displayed at the 1876 Centennial International Exposition in Philadelphia. It’s arguably the most graphic of anything known to exist in centennial textiles and one of only two known of its kind in this color. The other resides in the collection of the Smithsonian and is documented in “Threads of History” by Herbert Ridgeway Collins, (Smithsonian Press, 1979) as plate # 433 on page 205. One other is known with a white background instead of black, printed in red and blue, which I was privileged to own previously.

The background is fine canvas or muslin with a painted surface. The glazed surface of the black, polychrome paint, combined with craquelure throughout, give it the appearance of waxed cotton or oilcloth. The graphics are dominated by the circular medallion in the center, where there is a large eagle with crossed flags in its talons. The star and stripe counts on these are purely decorative. Note that there are 37 states represented in the decorative border that surround the center medallion. This does not include Colorado, which gained statehood on August 1st,1876, but which did not official receive a star on the American National flag until July 4th, 1877.

157

Colorado is typically included on flags and patriotic textiles, however, and it is somewhat unusual for it not to have been represented here. It may well be that the design was created as much as a year beforehand, commissioned during the great amount of planning that would have been necessary to orchestrate the massive World's Fair that was the 1876 Centennial Exposition. Presuming that was the case, Colorado's statehood may not have been anticipated.

158

Mounting: This is a sandwich mount between 100% cotton velvet and U.V. protective acrylic. The mount has been placed in a black-painted, hand-gilded and distressed, Italian molding. Condition: There is general wear with associated loss around the perimeter and minor paint loss throughout. Many of my clients prefer early flags and banners to show their age and history of use. The textile presents beautifully and its extreme rarity well-warrants the minimal condition issues.

Textile (H x L): 52.25" x 44.25“

Frame Size (H x L): 64" x 56.75"

160

George And Martha Washington Quilt1876

161

George and Martha Washington Quilt 1876|93.75 x 78 inches

163

Patriotic quilt made for the 1876 centennial celebration; a stunning example, the centerpiece of which consists of two extremely rare printed cotton textiles that feature George and Martha Washington. These are flanked above and below by pairs of parade flags that feature the crests and flags of various nations that participated in the Centennial International Exhibition. This six-month-long, Worlds Fair event was held in the city of Philadelphia. All of the fabrics used on the front of the quilt would have been available as souvenirs at the expo and it is likely that the maker purchased them there, took them home and proceeded to make this as a memento of her attendance.

The quilt is dated "1876" above George's image and the date "1776" appears above Martha to note the 100-year anniversary of American independence. The wide borders of the quilt are made of 39 star parade flags that are likewise printed on cotton. Although the official star count on the American national flag in 1876 was 37 stars, the 38th state, Colorado, joined the Union on August 1st of that year. Flag-makers didn't care what was official. They just wanted to be selling flags and, if at all possible, "one-uping" their competitors. Some produced 39 star flags, in anticipation that yet another state would soon be added. 39 star flags were common in 1876, perhaps even more so than 38 star flags.

164

In my experience with flags and patriotic textiles, I have never before encountered the two in this quilt that feature George and Martha Washington. Although their maker is unknown, other similar textiles exist that feature the borders around their edges, which are comprised of a series of 6-pointed stars. 6-pointed Stars-of-David are also repeated throughout the white background. I would suggest that the person that designed the pattern was of Jewish faith, based upon other objects with 6-pointed stars that appear in the late 19th century that are linked to Jewish makers.

165

Mounting: The quilt has been hand-stitched throughout to a background of 100% cotton twill, black in color, which has been washed to reduce excess dye. And acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. A supportive aluminum framework was used to create a pillow mount for added support. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding with a serpentine profile and a rippled inner edge. The glazing is U.V. protective acrylic.

Condition: The overall condition is quite good considering the fabrics and the date. Cotton parade flags are thin and not made for a textile of this nature. There is some splitting throughout, the worst of which occurs in the two 39 star flag textiles with international flag borders. Extra stitches were added in the affected areas and archival adhesives were expertly applied to the batting underneath some areas. There is some water staining and bleeding.

Quilt (H x L): 83" x 67.25“


168

Confederate 2nd National Pattern Flag

169

Confederate 2nd National Pattern Flag (1863 - 1913)|28.75 x 42.25 inches

171

1913 was a landmark anniversary of the Battle of Gettysburg. It was also the year of the first major Blue & Grey reunion. With the war now 50 years past, this was the first time that the now-aged men from both Union and Confederate troops could gather together and set at least some of their differences aside to remember the good and bad of their wartime military service.

Printed parade flags exist from this event, but flags with pieced-and-sewn construction, which also have text that references the anniversary, are all but unknown; so much so that this is the only one I have seen. They may well have been plentiful during the 1913 festivities, but it seems that almost none have survived.

Also on the short list of surviving colors are 2nd National pattern flags of any vintage, with or without text. Neither wartime or reunion-era examples seem to have been produced in any quantity. One good reason why this is true is simply because it was the second of three successive designs. Nicknamed the “Stainless Banner” because of its white field, it was generally disliked by Confederate soldiers because it looked too much like a white flag of surrender. Both for this reason and because it was replaced by another design, it was rarely the choice of Confederate veterans who were in need of a flag for reunion purposes.

172

During the war, when the flag became official on May 1st, 1863, most ground units already had flags. So with most units already in possession of either a 1st National pattern flag (Stars & Bars) or a Southern Cross battle flag, demand would have been limited to a small handful of newly mustered units, replacement colors, and larger ensigns for ships or garrisons.

Jones, Virginia is a tiny hamlet about 25 miles southwest of Fredericksburg, in Spotsylvania County.

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Confederate 2nd National Pattern Flag (detail)|28.75 x 42.25 inches

175

Construction: This is a entirely hand-sewn, one-sided flag with gold-painted text. The canton and field are made entirely of satin silk. There is a herringbone-weave, cotton tape hoist.Mounting: The flag has been hand-stitched to 100% cotton twill, black in color, which was washed to remove excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. The flag was then placed in a black-painted, hand-gilded and distressed Italian molding. The front is U.V. protective Plexiglas.

Condition: There is very minor foxing and staining, but there are no serious condition issues.

Frame Size (H x L): 28.75" x 42.25"

Flag Size (H x L): 18" x 31.75"

177

Confederate Parade Flag 1900 - 1940

178

Confederate Parade Flag(1900 - 1940)|18.75 x 19.25 inches

180

Confederate battle-style parade flag, printed on cotton, made sometime during the 1900-1940 era. Many people are surprised to learn that the Southern Cross, by itself, was not the national flag of the Confederate States of America. Officially, in rectangular format, it served as the Confederate Navy Jack. In square format it came to be called “the battle flag”, partly because it was carried in this format, for that purpose by Robert E. Lee and his Army of Northern Virginia, as well as by Beauregard’s Army and others. It also received widespread love in the South because the three successive national flag designs were not particularly admired by Confederate soldiers.

This particular flag, with its white border, mimics the basic style produced in Richmond in seven consecutive issues with slight variations. In all likelihood the flag was either have been made for use by the United Confederate Veterans (UCV), which formed in 1889 and served as the primary post-war organization for Confederate soldiers, or for the Daughters of the Confederacy (UDC), which was established in 1884 and thus actually pre-dated the men. Few Confederate flags can be found that date to this era, partly because public celebration of war service by Southerners was slow to come and partly because of the poverty that plagued the South after the Civil War, which persisted for many years. That changed with the arrival of the new century and as time passed, which led to an escalation in Confederate flag production.

181

Mounting: The solid walnut molding dates to the period between 1860 and 1890 and thus actually pre-dates the flag. The flag has been hand-stitched to 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. Spacers keep the textile away from the glazing, which is U.V. protective glass.

Condition: There are holes along the hoist end, with associated rust stains, where the flag was affixed to its original wooden staff. There is minor foxing and staining elsewhere. Many of my clients prefer early flags to show their age and history of use.

Frame Size (H x L): 18.75” x 19.25

Flag Size (H x L): 12” x 12.5

183

American Militia Drum 1812 - 1846

184

American Militia Drum (1812 - 1846)|15.75 x 16 x 15.75 inches

186

Pre-Civil war American militia drum, ca 1812-1848 (war of 1812-Mexican war era) with a fantastic folk-style eagle in a red, white, and blue medallion with a black and gold swag border. The body of the drum is red and mustard, vinegar-decorated (sponge-painted) over an earlier Prussian blue. The entire surface of the drum is paint-decorated, which is a substantial plus over other drums where only a rectangular panel or the cartouche is painted.

The current surface is both exceptional and early, probably added to refresh the design for use in the Mexican War (1846-48) or the Civil War (1861-65). The eagle is one of the best I’ve ever seen on a drum in terms of an early folk interpretation, with a huge eye of exaggerated size, red feathers on a gold ground, a whimsical shield, and eight-pointed stars behind it in the blue sphere.

Underneath the present paint is evidence of a more crude, elliptical medallion. The blue background suggests infantry use (blue for infantry and red for artillery).

The drum retains what are either its original gut snares, or early replacements, which is rather remarkable.

189

Condition: Replaced top skin, ropes and ears, all of which is expected.

Size (H x L): 15.75” w x 16” h x 15.75” d

190

Suffragette Ribbon

191

Suffragette Ribbon |10.5 x 7.5 inches

193

Printed in blue on light pink silk satin, this great Suffrage Movement ribbon bears both great graphics and slogans. An allegorical figure that blends both Lady Liberty and Lady Justice, stands upon a book entitled "U.S. Constitution" with the sub-title or volume title "Equality of Sex." In one hand she holds a staff with a dove-shaped finial, to which is affixed a version of the Stars & Stripes with a single star in the canton and the letters "US" below. Text in the stripe field reads "We Learn The Art of Peace." Before her are the proverbial lion and lamb, laying down together. About her is a streamer with text that reads "Everlasting Peace of States and Nations." Arched above her are the words "Love and Purity" and above this is a 5- pointed star with letters inside that spell the word "white" and outside that spell "Peace". This is encircled by the words "Equality of Sex and Suffrage.“

This ribbon is thought to date to 1880's and the roots of the Suffrage movement in America. It is one of two known examples, the other of which is printed on yellow.

194

Mounting: The gilded American molding has an unusual rippled profile and dates to the period between 1830 and 1850. The ribbon has been hand-stitched to 100% cotton, black in color, which has been washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. Spacers keep the textile away from the glazing, which is U.V. protective glass.

Condition: The printing is a bit light, but it presents well, is very legible, and there are no serious condition issues.

Frame Size: 10.5” x 7.5”

Ribbon Size: 5.75” x 2.5”

195

Suffragette Ribbon |10.5 x 7.5 inches

197

Folk Painting Of George Washington 1917

198

Folk Painting of George Washington (1917)|30.25 x 40.5 inches

200

If George Washington were painted by Andy Warhol for artwork that would appear on a Campbell Soup can, he might look a good deal like this modernistic, 1917 interpretation by Cyrus T. Fuery, a barber from Parma, Michigan. Dated 1917 (the first year of U.S. involvement in WWI) and signed on the reverse, Fuery’s oversized canvas (30 x 40.5 inches) shows the hand of an accomplished folk artist. His treatment of the angular facial features, serpentine brow, and hair are whimsical, bold, and appealing.

One other work by Feury is known, a portrait of Abraham Lincoln, which is said to have hung in his barbershop. The whereabouts of the Lincoln portrait are currently unknown.

201

Provenance: This work was exhibited at the Abby Aldrich Rockefeller Folk Art Museum in Colonial Williamsburg in a special patriotic exhibit for the 1976 Bicentennial by then-curator Don Walters, the esteemed folk art expert and long-time antiques dealer.

Folk art dealer Tim Hill (Birmingham, MI) owned the work in the 1970’s.

Materials: Oil on canvas over the original wooden strainer, modern gilded frame.

Condition: There are two small, patched repairs and a couple of other small areas with in painting.

Frame Size (H x L): 30.25" x 40.5"

Work Size (H x L): 37" x 47.75"

203

God Bless America Rug 1876

204

God Bless America Rug | 23.75 x 36.5 inches | 1876

206

Wool hooked rug with four whimsical stars and text that reads " God Bless America", a great patriotic example, probably made for the 1876 centennial of American independence. Condition: Excellent, with no issues of significance.

Mounting: Professionally mounted.

Frame Size (H x L): 30.25" x 40.5"

Work Size (H x L): 37" x 47.75"

209

Patriotic Banner With Delaware Seal 1861 - 1876

210

Patriotic Banner with Delaware Seal (1861 – 1876)|74 x 52.5 inches

212

Swallow tail format, patriotic vertical banner bearing the name and the seal of the State of Delaware. Made in the period between 1861 and the 1876 centennial of American independence, the textile is entirely hand-painted on heavy cotton or linen. This is the only stars & stripes format, 19th century banner with this heraldic image that I have ever encountered in private hands.

Note the bold and interesting imagery, which includes a modernistic, folded streamer on a cornflower blue field of 23 visible stars. There is an endearing primitive nature in the stern faces of the farmer and minuteman. Artists painting state seals in early America exercised great liberty in their work. Note how the farmer holds a spade but is clearly clothed as a sailor and his hand upholds the three-masted tall ship at the top center of the shield--a feature not usually present. The hat of the soldier is likewise that of a seaman and both of the figures, along with the ship, recognize the importance of the sea to the state of Delaware. The arched stripe in the center of the shield is supposed to be blue to represent the Delaware River, but here is incorrectly colored red, perhaps to symbolize the blood of war or perhaps simply by accident, the artist failing to recognize its importance or perhaps working from a black and white image or even a verbal description.

213

This particular example was found among a series of banners representing Mississippi, Oregon, Pennsylvania, Virginia, Illinois, Louisiana, and New York City. One representing Kansas is also known. Kansas joined the Union in 1861. Unless like banners were produced for some of the Western Territories, in anticipation of future statehood, the group dates no earlier than that year. The presence of the New York City example suggests that whatever event they were used at occurred in New York.

Based upon the minor to significant deviations from "official" designs that are present among the other banners, it seems likely that whomever was painting the devices was probably working from a series of drawings or perhaps, in some cases, even written descriptions. There would have been no widely available book or chart that would contain every state seal and even if there was, it would not have been kept up-to-date with yearly revisions. Nineteenth century flag-makers would have had to make do with whatever information was available to them.

215

Banners of this type were often hoisted on single vertical staffs that held the rope aloft in the center. This basic style was both carried in parades and affixed on mounts indoors. Similar decorations and banners can be seen along the walls at early political conventions, or hoisted among benches, where they denoted the positions of the seating of attendees from various states. The 1868 Democrat National Convention was held in Manhattan at Tammany Hall. A colorful illustration, printed for Joseph Shannon’s Manual of the Corporation of the City of New York, shows the interior of the building masterfully festooned with patriotic banners, medallions, and buntings of similar nature, but none that match this particular style. Only the front and central interior are pictured, but two full sets of state identifying decorations are shown. This banner and its mates could well have hung elsewhere on the premises. No Republican National Conventions were held in New York during the 19th century.

An alternative possibility is that the banners were used in festivities pertaining to the centennial of American independence in 1876, either in New York or at an event such as the Centennial International Exhibition in Philadelphia, a six-month long World's Fair event, where a city like New York probably had its own pavilion, along with each individual state.

From 1793 until 1847 the figures of the farmer and the soldier were eliminated from the seal and in 1847 the motto "Liberty and Independence," was added on a ribbon underneath the shield, so the design post-dates that year. The presence of a banner for the state of Kansas precludes manufacture before 1861, when Kansas became a state. Whatever the case may be, the textile is a boldly graphic, colorful survivor and presently represents the only privately held banner of its kind that I am aware of with the device of Delaware.

217

Construction: Painted cotton or linen tacked to a wooden staff with acorn finials that is original to the banner. A length of red wool tape was used to reinforce the point where the tacks are affixed.

Mounting: The banner has been hand-stitched to a background 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye, which was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective acrylic.

Condition: There is minor soiling and there was minor to moderate paint loss, especially towards the bottom of the stripe field. Professional restoration was undertaken, particularly to strengthen the presentation in this area, but great care was taken to tread lightly and preserve the original condition.


Frame Size (H x L): Approx. 74" x 52.5"

Patriotic Banner with the Seal of the State of Oregon

Patriotic Banner with the Seal of the State of Oregon| Hand Painted on Heavy Cotton 75.75 x 52 inches

Made in the period between 1861 and the 1876 centennial of American independence, the textile is entirely hand-painted on heavy cotton or linen.

Note the bold and interesting imagery, which includes a modernistic, folded streamer on a cornflower blue register with 22 visible stars. In the center of the red and white striped field below, which ends in a forked swallowtail, is a rendition of a seal used by the Oregon Territory.

The seal of the State of Oregon was actually designed in 1857, two years before Oregon became a state, with the expressed intent that it would be adopted when statehood was achieved. The first seal of the Oregon Territory was employed by its provisional government, between 1843 and 1849. It featured a salmon fish below three sheaves of wheat. When the territorial government arrived in 1849, the "Salmon Seal" was replaced by a new device, which is very similar to the one featured on this banner. Artists painting state seals in early America often exercised great liberty in their work, but this example is surprisingly true to form. It features a beaver above a fanciful, scrollwork shield, flanked by a Native American on the left and an eagle in the lower right. Charges in the escutcheon include a tall ship at the top canton and a landscape with mountains below. Deviations include the lack of five, five-pointed stars arched below and the placement of the latin motto "Alis Volat Propriis" (she flies with her own wings). On the actual seal, the motto appears in a circular arch along the top. One the banner, it is placed below within a billowing red streamer.

Patriotic Banner with the Seal of the State of Oregon (Detail)| Hand Painted on Heavy Cotton 75.75 x 52 inches

This textile was found among a series of banners representing Mississippi, Delaware, Pennsylvania, Virginia, Illinois, Louisiana, and New York City. One representing Kansas is also known. Kansas joined the Union in 1861. Unless like banners were produced for some of the Western Territories, in anticipation of future statehood, the group dates no earlier than that year. The presence of the New York City example suggests that whatever event they were used at occurred in New York.

Based upon the minor to significant deviations from "official" designs that are present among the other banners, it seems likely that whomever was painting the devices was probably working from a series of drawings or perhaps, in some cases, even written descriptions. There would have been no widely available book or chart that would contain every state seal and even if there was, it would not have been kept up-to-date with yearly revisions. Nineteenth century flag-makers would have had to make do with whatever information was available to them.

Banners of this type were often hoisted on single vertical staffs that held the rope aloft in the center. This basic style was both carried in parades and affixed on mounts indoors. Similar decorations and banners can be seen along the walls at early political conventions, or hoisted among benches, where they denoted the positions of the seating of attendees from various states. The 1868 Democrat National Convention was held in Manhattan at Tammany Hall. A colorful illustration, printed for Joseph Shannon’s Manual of the Corporation of the City of New York, shows the interior of the building masterfully festooned with patriotic banners, medallions, and buntings of similar nature, but none that match this particular style.

Patriotic Banner with the Seal of the State of Oregon (Detail)| Hand Painted on Heavy Cotton | 75.75 x 52 inches

Only the front and central interior are pictured, but two full sets of state identifying decorations are shown. This banner and its mates could well have hung elsewhere on the premises. No Republican National Conventions were held in New York during the 19th century.


Whatever the case may be, the textile is a boldly graphic, colorful survivor and presently represents the only 19th century textile of its kind that displays this device of the Oregon Territory. Note the interesting folk features in the face of the Indian and the stylized eagle, which is unique to the artist who painted all of the banners in the series. Note also the metallic painted, scrollwork window in which the shield is displayed.


Construction: Painted cotton or linen tacked to a wooden staff with acorn finials that is original to the banner. A length of red wool tape was used to reinforce the point where the tacks are affixed.Mounting: The banner has been hand-stitched to a background 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye, which was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective acrylic. Condition: There is minor soiling and there was minor to moderate paint loss, especially towards the bottom of the stripe field. Professional restoration was undertaken, particularly to strengthen the presentation in this area, but great care was taken to tread lightly and preserve the original condition.


Frame Size (H x L): Approx. 75.75" x 52"

Patriotic Banner with the seal of the State of Virginia

Patriotic Banner with the Seal of the State of Virginia (Detail of frame)| 75.75 x 52 inches

Made in the period between 1861 and the 1876 centennial of American independence, the textile is entirely hand-painted on heavy cotton or linen. This is the only stars & stripes format, 19th century banner with this heraldic image that I have ever encountered in private hands.

Note the bold and interesting imagery, which includes a modernistic, folded streamer on a cornflower blue field of 21 visible stars and a interpretation of the device of the state, executed in a folk style.

In May 1776 the Virginia colony declared its independence from Great Britain. On July 1, 1776, a committee of four was appointed to make a proper seal for the Commonwealth of Virginia. The four men were Richard Henry Lee, George Mason, George Wythe, and Robert Carter Nicholas. Four days later the committee's report for a design of the seal was read, and George Mason presented it to the Virginia government. It was voted on and approved that same day. It is not known for certain which members of the committee were chiefly responsible for the design of the seal, but it is generally believed to be principally the work of George Wythe.

The seal makers did not want a design which in any way resembled the style of coats-of-arms used in Britain. Due to strong admiration for the Roman Republic among Virginia leaders, the design of the new seal was taken from the mythology of Ancient Rome. The Latin motto "Sic semper tyrannis" translates in English as "Thus always to tyrants". The imagery shows tyranny lying prostrate beneath the foot of Virtus, the Roman deity of virtue. The royal crown has fallen to the ground to symbolize the new republic's release from the monarchical control of Great Britain. It is interesting to note that Virginia and New York are the only U.S. states with a flag or seal displaying a crown.

The robes of the fallen monarch are typically purple, as reference to Julius Caesar and the Etruscan king of Rome, Tarquinius Priscus, but the many artists who copied state seals took great liberty in their work and thus great variation is seen from one example to the next, especially in the 18th and 19th centuries.

Banners of this type were often hoisted on single vertical staffs that held the rope aloft in the center. This basic style was both carried in parades and affixed on mounts indoors. Similar decorations and banners can be seen along the walls at early political conventions, or hoisted among benches, where they denoted the positions of the seating of attendees from various states. This particular example was found among a series of banners representing Mississippi, Oregon, Pennsylvania, Delaware, Illinois, Louisiana, and New York City. One representing Kansas is also known. The presence of the New York City example suggests that whatever event they were used at occurred in New York.

The 1868 Democrat National Convention was held in Manhattan at Tammany Hall. A colorful illustration, printed for Joseph Shannon’s Manual of the Corporation of the City of New York, shows the interior of the building masterfully festooned with patriotic banners, medallions, and buntings of similar nature, but none that match this particular style. Only the front and central interior are pictured, but two full sets of state identifying decorations are shown. This banner and its mates could well have hung elsewhere on the premises. No Republican National Conventions were held in New York during the 19th century.


Whatever the case may be, the textile is a boldly graphic, colorful survivor and presently represents the only privately held banner of its kind that I am aware of with the device of Virginia.


Mounting: The banner has been hand-stitched to a background 100% cotton, black in color, which was washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye, which was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective acrylic.

Condition: There is minor soiling and there was very minor paint loss. A very minor amount of professional restoration was undertaken. There is some breakdown around the left eye of the soldier. Many of my clients prefer early flags to show their age and history of use.

Flag Size (H x L): 65" x 34" Frame Size (H x L): Approx. 75.75" x 52"

13-Star Flag by Rachel Albright, 1903

13 Star Flag by Rachel Albright | 75.75 x 52 inches | 1903

13 star American national flag made by Rachel Albright, granddaughter of Betsy Ross, in the East Wing of Independence Hall in Philadelphia. She produced small flags like this for the tourist trade and possibly sometimes presented as gifts to individuals who made donations to the American Flag House and Betsy Ross Memorial Association. She appears to have begun in 1898, then was joined by Betsy's great-granddaughter, Sarah M. Wilson, around 1902. Rachel continued until around 1905, then moved to Iowa, where she had family, and passed in 1907. Sarah continued their little cottage industry until approximately 1913.

The stripes of the flag are constructed of silk ribbon and hand-sewn with especially tiny stitches. The five- pointed stars are executed with lineal lines like a spokes on a carriage wheel or the rowel of a spur. These are constructed of silk floss on a canton made of blue silk taffeta. There is a wide, treadle-sewn binding along the hoist, which is signed with a dip pen in the following manner:

"First flag made 1777 by Betsy Ross. This copy of the original flag made Mar. 1903, by Rachel Albright, aged 93 y. 9 m. grand-daughter of Betsy Ross.“

The Albright and Wilson flags are extremely easy to identify because their construction is so distinctive. There is nothing else like them made during this period. That having been said, they were individually made and do exhibit a small degree of personalized variation. The sleeves or hoist bindings vary in width and some have tiny, hand-sewn grommets.

These flags typically either came with a separate note or a direct signature, such as this one. Many times the notes are lost, and sometimes the signatures continue from one side of the sleeve to the other, so the bold signature on the broad sleeve of this example, written on one side only so it can be readily viewed in full, is of substantial interest.

Mounting: The gilded, American molding dates to the period between 1840 and 1870. The flag has been pressure-mounted between100% cotton and U.V. protective acrylic. The black fabric has been washed to reduce excess dye. An acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose.

Condition: Overall excellent, with only minor to moderate fading of the blue canton.

Flag Size (H x L): 12.25" x 7.25“


13-Star, U.S. Navy Small Boat Ensign

13-Star , U.S. Navy Small Boat Ensign| Hand Painted on Heavy Cotton | 75.75 x 52 inches | 1850-1863

This is a U.S. Navy small boat ensign, made sometime between 1850 and the opening years of the Civil War (1861-1863); probably the latter, since production increased with the need driven by war. Small boat ensigns were sometimes flown at the stern, from a gaff, or from the yard-arm on a larger vessel, or as the primary flag on a skiff or other small craft that carried sailors back and forth to shore.

The 4-5-4 lineal configuration is both scarcer and more appealing than rows of stars in counts of 3-2-3-2-3, and is generally seen on flags made during the Civil War period and prior. For some reason the 4-5-4 pattern was not popular during the celebration of our nation’s 100-year anniversary of independence in 1876, or thereafter, so it is both desired and more interesting than some other 13 star designs. It is sometimes seen in the 1890’s on small-scale 13 star flags produced by commercial makers, but these are scarce. There was no official star pattern for the 13 star flag set forth in the flag act of June 14th, 1777, and because the original does not survive, nor are descriptions of it recorded in public documents or private journals, no one actually knows what the very first one looked like. Due to its apparent popularity in early America, however, as evidenced by both drawings and surviving 19th century examples, more than one flag expert has hedged that lineal rows of 4-5-4 was probably the original configuration.

The flag is entirely hand-sewn. The canton and stripes are made of wool bunting. There is a heavy canvas binding with two hand-sewn, whip- stitched grommets for hoisting. The stars are made of cotton and are single-appliquéd. This means that they were applied to one side of the canton, then the blue fabric was cut from behind each star, folded over and under-hemmed, so that one appliquéd star could be viewed on both sides of the flag. Although it did conserve fabric, attaching the stars in this fashion took a great degree of skill and was a very time consuming process. I prefer this manner of construction because it almost always results in stars that appear more homemade, less uniform in shape, and thus exhibit the sort of folk qualities that are more desired among collectors. This particular flag is no exception. Note how the irregular profiles and bent arms of the stars add a whimsical element and, in addition to the two rows of hand-stitching, lend a great deal to the overall presentation.

This particular 13 star flag is an unusually large among small boat ensigns. The most common variety measured approximately six feet in length. Because the proportions of naval flags was customarily long and narrow, this particular example was certainly longer originally, probably measuring between 8 and 10 feet on the fly. An elongated format was more practical for nautical use, both because it allowed for the fly end to be turned back and hemmed many times to repair losses sustained during windy use at sea, and so that a greater size could be displayed on a shorter amount of vertical space.

13 star flags have been used throughout our Nation’s history for a variety of purposes. The U.S. Navy used the 13 star count on small boats, not only in the 18th century, but throughout much or all of the 19th century, particularly the second half. Ship captains were paranoid about the ability of foreign ships to recognize the flag on the open seas. On small flags in particular, viewed through a spyglass at a distance, the ability discern individual stars was of great concern. Keeping the count at 13 maintained better visibility and consistency. The practice theoretically ended in 1916 following an executive order from then-President Woodrow Wilson, though old military traditions die hard and according to at least one expert, Wilson’s order did not completely dispel the presence of 13 star flags on U.S. Navy craft.

Some private ships flew 13 star flags during the same period as the Navy, and the use of yachting ensigns with a wreath of 13 stars surrounding an anchor, which began in 1848, still persists today. Among other uses, 13 star flags were carried by soldiers during the Mexican and Civil Wars and displayed at various patriotic events, including Lafayette’s final visit to the U.S. in 1825-26, the celebration of the Nation's centennial of independence in 1876, and the sesquicentennial in 1926.

Mounting: The flag has been hand-stitched to 100% natural fabrics for support on every seam and throughout the star field. Fabrics of similar coloration were chosen to mask losses. The flag was then hand-stitched to a background of 100% cotton, black in color, which was washed to remove excess dye. An acid-free agent was added to the wash to further set the dye, and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand- gilded and distressed Italian molding. The glazing is U.V. protective acrylic.

Condition: The fly end of the flag has turned back and hemmed during the course of its use as a customary and proper means of repair. There are minor holes throughout from obvious use and moderate soiling. Many of my clients prefer early flags to show their age.

Frame Size (H x L): 57" x 93"

Flag Size (H x L): 46.25" x 81.5"

Late 19th Century Carving of an Eagle

Late 19th Century Carving of an Eagle | Wood | 8 x 42 x 4 inches | 1885

Carved wooden eagle, American, ca 1885, in a both form and with an old varnished surface that has blackened and separated with age to a very attractive and desirable patina. The style is at the same time traditional, in a stern board format, but unusual, with the tail swooping so low to one side. The scale is much larger and the format different than those typical of John Haley Bellamy, which were copied in large numbers. Bold size, individualized interpretation, and great surface make for a carving of particular note, especially in the present marketplace, where the number of high quality examples like this one seem to have rather swiftly become all but extinct.

Condition: Two surface cracks near the very tip of the curved upper beak were filled and the surrounding paint professionally restored.

Measurements ( L x W x D): 8 x 42 x 4 inches

Leavers Lace Table Cover

Leaver’s Lace Table Cover | 45.75 x 44.5 inches | 1876-1890’s

This decorative lace textile depicts a spread-winged American eagle, with a patriotic shield upon its breast, grasping olive branches in one talon and arrows in the other. The bird is featured beneath an array of 6-point stars that resemble those on George Washington's personal standard, under what appear to be clouds, with a round center medallion that has a scalloped border. The wide floral border terminates with a repeated arch that helps to form the scalloped outer edge.

Made as a table cover, sometime between the 1876 centennial of our nation's independence and the 1890's, the piece was manufactured with a machine that made what is known as leaver's lace. Invented in France around 1804, these massive tools weighed between 12 and 15 tons.

Mounting: The textile has been hand-stitched to 100% cotton, black in color, which was washed to reduce excess dye. And acid-free agent was added to the wash to further set the dye and the fabric was heat-treated for the same purpose. The mount was then placed in a black-painted, hand-gilded and distresses Italian molding. The glazing is U.V. protective Plexiglas.

Condition: There is minor overall age toning, accompanied by minor to moderate water staining. There is minor breakdown in various limited areas. The overall presentation is especially attractive and displays its age gracefully.

Frame Size (H x L): 45.75” x 44.5”Flag Size (H x L): 34.75” x 33.75”

Liberty Dairy and Ice Cream,1910-45

Liberty Diary and Ice Cream | 12 x 96 inches | 1910-45

This long, narrow banner was probably made for the Liberty Dairy & Ice Cream of Big Rapids, Michigan. Made sometime between 1910 and 1945, it is printed in red on extremely fine, white-painted muslin. The text reads simply:

"Eat Liberty Ice Cream; Served Here; Its Healthful“

The manner of construction is similar to what is seen on banners made for presidential campaigns during the F.D.R. years and just prior, but can probably be seen as early as the turn of the century. The banner is signed in the lower left: Scotio Sign Company, Kenton, Ohio. The firm is still in business today and has a website that relates some pertinent history:

"Scioto Sign Company, founded in 1897, is located in North-Central Ohio approximately 64 miles north of Columbus and 30 miles east of Lima. The company name "Scioto" (pronounced Sigh-oh'-toe) comes from a Shawnee Indian word meaning "falling waters" and is the name of a nearby river. The company started out manufacturing advertising specialties such as paper and cardboard signs, muslin banners, aprons and novelties."*

The text and the subject matter are both desirable. Like Scioto Sign Co., Liberty Dairy is also still in business, having at some point moved from Big Rapids to nearby Evert.

Mounting: The banner can be mounted and framed at additional expense or shipped as-is.

Condition: The banner has losses around the perimeter, an attractive degree of fading, and some fold marks.

Sign Size (H x L): 12 x 96 Inches

Molded Copper Eagle With Gilded Surface, 1891

Molded Copper Eagle with Gilded Surface | 39 x 50 x 24 | 1891

Molded brass and copper eagles of this nature decorated the interiors of Civil War veterans' halls, armories, customs houses and other public buildings. They began to appear during the last quarter of the 19th century and production probably persisted until around 1910. Their structures are partially hollow-bodied and three-dimensional, reinforced with tin on the reverse. They typically have rectangular brackets on the reverse , into which patriotic bunting could be tucked, and/or open tubes, into which the wooden staffs of parade flags could be affixed to fan out above the eagle's wings. Their surface was commonly gilded in gold leaf to give them a rich luster.

Dramatic is the first word that comes to mind of this particular example, which is among a small group that comprises the largest and the most impressive that I have ever encountered. Much of the original gilding remains and the untouched, naturally aged surface is among this sculpture's strongest attributes. Note the sweeping profile of the wings that arch around the beak. The wings are spread as if the bird is landing on the large, flattened orb, gripped within its talons. The combination of the profile, the scale, the detail, and wonderful patina lend a stunning visual impression.

Three examples in this style are presently known. I have owned two and the third resides in the collection of the New York Historical Association. This example and the NYHA. example are signed by the maker, H. Fachs. The third is patent-dated 1891 but is unsigned. Henry Fachs is known to have operated in New York City at several addresses during the last quarter of the 19th century. He was listed as a tailor in 1883 at 139 Elm St., as a military dealer from 1884-1889 at the same address. He was listed as a dealer in theatrical goods between 1887 and 1890 at 169 Elm, a dealer in armor between 1991 and 1996 at 654 Hudson, and thereafter as a costumer at 343-345 W. 37th St. until at least 1900.

Three examples in this style are presently known. I have owned two and the third resides in the collection of the New York Historical Association. This example and the NYHA. example are signed by the maker, H. Fachs. The third is patent-dated 1891 but is unsigned. Henry Fachs is known to have operated in New York City at several addresses during the last quarter of the 19th century. He was listed as a tailor in 1883 at 139 Elm St., as a military dealer from 1884-1889 at the same address. He was listed as a dealer in theatrical goods between 1887 and 1890 at 169 Elm, a dealer in armor between 1991 and 1996 at 654 Hudson, and thereafter as a costumer at 343-345 W. 37th St. until at least 1900.

This example is marked with a small, rectangular piece of copper on the shaft below the squashed globe, stamped with the following characters: "H. FACHS MAKER N.Y." The unsigned example is marked with a small, rectangular, tin plate on the reverse, stamped with an oval, braided rope border, inside which is the following text: "Patented Septr. 15, 1891 NY". A New York mark is seldom not a positive feature in the antiques marketplace. An eagle standing on a globe is New York symbolism and appears on the state seal.

This example and the one at the NYHA both have an open shaft that protrudes vertically through the squashed globe.* This is made in such a way that a canister filled with whale oil could be fit inside from underneath, with a wick at the top that could be lit and a wooden pole underneath. These would allow the eagle to be carried as a massive parade torch. In early illustrations, eagles like this one appear as finials atop large parade banners, carried for political campaigning and other patriotic activities.

When the torch was not in use, the organization that owned it -- more likely than not a Civil War veteran's unit -- might hang it prominently on the wall inside their meeting hall. On the reverse between the wings there is an array of five tubes that could each accommodate a printed flag on a wooden staff, so American flags could be inserted above it. Patriotic bunting is often seen draped around and across eagles of this sort in early photos and illustrations for further effect.

Condition: There is expected wear from age and use, including minor dents, losses, and surface loss. The bracket on the reverse was re-attached by means of chemical weld and there is a small, old solder repair on the edge of the tail. The structure is remarkably sound and intact, especially considering its size and lightweight materials.

It is interesting to note that the third, unsigned example is basically identical, with the exception that its globe is closed at the top and bottom. It also has a flat, hollow tube, made of tin, that protrudes out the back at a 90 degree angle to its vertical axis. This probably served two purposes: one, it could accept a piece of flat iron that could be affixed to a wall bracket for hanging and two, the design would easily accommodate a flat wick. With minor alteration the globe could be connected and serve as a vessel for holding oil.

Size: 39 x 50 x 24 inches

34 Star Civil War Flag, 1861-63

34 Star Civil War Flag | 85 x 62 inches | 1861-63

Diamond patterns are extraordinarily rare among documented examples in any form. Not more than 10 or so probably exist across both flags with sewn and printed construction. Applied banners are also rare. The combination of this one, with its wonderful patriotic verbiage, to a Civil War period flag with an outstanding star configuration results in a venerable masterpiece.

Kansas was admitted into the Union as the 34th state on January 29th, 1861, about 2½ months before the Confederate assault on Fort Sumter that marked the beginning of the Civil War. The 34th star was officially added on July 4th of that year, but most flag makers would have added a 34th star with the addition of Kansas in January. The star count remained official until July 4th, 1863, and 34 star flags would have been produced until the addition of West Virginia in June of that year.

The 15-star Confederate Battle Flag

Lloyd Tilghman was born near Claiborne, Maryland in 1816 and to a family of long military and patriotic tradition. He was a 7th generation Marylander, descending from one of the state's earliest settlers. He was the great-grandson of Judge Matthew Tilghman (1718-1790), who was at the forefront of political revolution in the state.

Matthew Tilghman was elected to the Maryland House of Delegates in 1751 and served until the colony became a state. He became Speaker of the House from 1773-75 and from 1774-76 he effectively led the Revolution in Maryland as Chairman of the Committee of Safety and head of the Maryland delegation to the Continental Congress. He also served as President of the Annapolis Convention and headed the committee that drafted the "Charter of Rights and Plan of Government" that was Maryland's first constitution. When the new state government was formed in 1776, Matthew Tilghman was elected to the state Senate, serving until 1783, including the last three of those as Senate President.

Lloyd Tilghman was an Army officer and engineer trained at West Point (Class of 1836). He worked as chief engineer for many railroads and in-between saw service in the Mexican War. His work eventually led him to Paducah, Kentucky, where he became an official resident of the state in 1852. He became an officer in the Kentucky State Guard in 1860 and quickly rose to Commander of the Western Division. When the war broke out in 1861, his decision to join the Northern or Southern cause was thought to have likely been a difficult one, but when Union forces invaded Kentucky against the will of its people to remain neutral, his mind was made up by his witness to the event and Tilghman took command of the Third Kentucky Infantry, Company D, on July 5th. On October 18th ha was promoted to Brigadier General.

The 15-star Confederate Battle Flag| 48 x 50 inches

Tilghman was tasked with the refurbishing and reinforcement of Forts Henry and Donelson, which he worked skillfully and diligently to defend. He was impeded by thousands of ill-equip men, at least 2,000 of which remained unarmed when Union forces attacked. He was subsequently captured at Fort Henry (Feb. 6, 1862) before being imprisoned at Fort Warren in Boston Harbor for a period of six months. On August 15th, 1862, he was exchanged for Union General John Reynolds.

Tilghman was given command of the men exchanged during his release. He went on to successfully defeat general Grant's forces at Coffeyville on December 5th, but it was Grant's Army that would bring his life to an end nine months later. On May 16th, 1863, he was killed in action during the Vicksburg Campaign at the Battle of Champion Hill, when he was struck in the chest by a cannon ball.

Today Tilghman's former home in Paducah serves as a Civil War museum, the local high school bears his name, and there are monuments with his likeness at both Paducah and on the Vicksburg Battlefield. The Vicksburg statue displays the General in a particularly robust posture, standing before his horse, back slightly arched and with both arms raised vigilantly skyward, drawn sword in one hand and reins in the other. A book entitled "Lloyd Tilghman, Confederate General in the Western Theater", by Brian Bush, was published by Acclaim Press (Morley, MO) in 2006 and accompanies the flag.

Other important documents include a notarized letter that briefly explains provenance, signed by Richard Tilghman, a direct descendent and namesake of the original Tilghman that settled Maryland in 1660. Also included is a full report and textile analysis by Fonda Thomsen, widely thought to be the leading authority in antique flags from a textile identification perspective.

In summary, the stunningly beautiful presentation that results from the silk fabrics and fringe of this unusual flag, enhance its already strong desirability among the few known to have belonged to Confederate Army Generals. The fact that there are only two known Southern Cross battle flags with 15 stars is of great significance and enhances both its Maryland and Kentucky relationships. The fact that Maryland is included makes perfect sense in light of

Tilghman family history and lends an interesting opportunity for a person interested in Civil War, Confederate objects related to that state. This is an especially interesting feature because so few Maryland-relationship flags survive of any kind. And the fact that Tilghman was so grandly killed at such a memorable battle completes the package. All-in-all, the result is one of the best Confederate flags that a Civil War collector might acquire.Construction: The red ground is made of silk sateen. The blue cross on the obverse side is made of blue satin ribbon with a decorative edge, while on the obverse is made of appliquéd lengths of another variety of blue silk. The stars are made of ribbed white silk and double- appliquéd (applied to both sides).

Silk is seldom ever used in the making of appliquéd stars and its presence here is especially interesting. Both the stars and the fabric used to appliqué the blue cross to the reverse were affixed with a looping blanket stitch. On the obverse a backstitch technique, unusual in flag-making, was employed to affix the blue ribbon. A length of woolen tape used to reinforce the hoist is the only fabric that is not silk. Three pairs of silk ties were used to affix the flag to a staff, only one of which remains. The knotted silk fringe is one of the most elaborate that I have ever encountered on an early flag. All of the thread used in the construction is silk, save that used to apply the pairs of ties along the hoist, which is 2/2 ply, S-twist cotton.

Mounting: The flag has since been mounted and framed and a full description of such will accompany it. The molding used is pictured here.Condition: The flag is intact as originally constructed save one repair in the top corner of the hoist end. There is minor dye bleed of the red into the white silk and the fringe. There is minor splitting with associated loss. Two of the pairs of silk ties are largely absent. Many of my clients prefer early flags to show their age and history of use. The flag is in an excellent state of presentation for a silk Confederate Battle Flag of this period and it's rarity and desirability well warrants such minor condition issues.

Frame Size (H x L): Approx. 48" x 50“


“Votes for Women" Suffragette Sash1900-1920

Suffragette Sash with “Votes for Women" text |15 x 44.25 inches | 1900-1920

Fragment of an Women’s suffrage parade sash, accompanied by an early suffragette movement photo. Both are circa 1900-1920. While green and violet are often associated with the suffragette movement in the U.K., it has been suggested that these colors were sometimes employed in the U.S.. This precise style of ribbon sash, with this exact style of printing, exists on American-made Women's Suffrage sashes.

The picket sign in the photo reads, “Why does Lord Crewe imprison women for demanding the vote.” Research on Lord Crewe and the British Suffrage movement reveal that the photo paints a vivid description. Lord Crewe was the Acting Head of Foreign Office in the British Cabinet. The suffragettes had ‘spies’, of sorts, that followed around members of the Cabinet and would specifically picket them whenever they were making a public appearance. Providing any form of nuisance, they would, at times, even pelt them with stones. Local authorities would have to close the main traffic routes and requisition police and mounted guards in large numbers, pooling resources from neighboring towns wherever a member of the Cabinet appeared for a public address.

Interestingly enough, Crewe may have actually supported women’s suffrage. He was quoted several times while attempting to sway the Cabinet to give women the right to vote. There were a significant number of suffragettes organized throughout the British Colonies. Foreign suffragettes seem to have defied authority even more than they did in Britain. This photo could possibly show picketing against Lord Crewe, due to overseas imprisonments during his term as Foreign Secretary. The suffragettes in India during this period were the inspiring catalysts to the ‘satyagraha’ or ‘passive resistance’ movement developed and is most associated to Mahatma Gandhi. British women gained the right to vote in 1918, two years before the privilege was successfully obtained by American women.

Mounting: The photo is double-matted in 100% cotton rag mat and the sash fragment has been hand-stitched to its background. The silver-gilt molding has tastefully carved decoration. Spacers keep the objects away from the glazing, which is U.V. protective glass.

Condition: There is minor foxing and staining on the sash fragment.

Frame Size: 15” x 44.25”

Size: Sash Fragment: 4” x 23”

Photo- 6” x 8”

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