| 13 STARS IN A CRUDE SINGLE WREATH, REMINISCENT OF THE BETSY ROSS PATTERN, BUT RENDERED AS MORE OF AN OVAL; AN ANTIQUE AMERICAN FLAG MADE OF THE CIVIL WAR ERA, WITH AN EXTREMELY RARE & STAR CONFIGURATION FOR THE PERIOD; SIGNED BY THE SHOP OF PROMINENT FLAG-MAKER WILLIAM SCHEIBLE OF PHILADELPHIA, SITUATED JUST TWO BLOCKS FROM BOTH INDEPENDENCE HALL & THE BETSY ROSS HOUSE |
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| Web ID: | 13j-1738 |
| Available: | In Stock |
| Frame Size (H x L): | Approx. 58.5" x 83.5" |
| Flag Size (H x L): | 47" x 71.75" |
| Description: | |
| American national flag of the Civil War era, with 13 stars crudely arranged in a single wreath. Produced by an identified Philadelphia flag maker, note how the constellation falls somewhere between the perfect circle pattern, often attributed to Betsy Ross, and the broad oval of stars sometimes associated with Major Pierre L'Enfant, the French-American military engineer & architect who, in 1791, was hired by George Washington to create a master layout for a new federal capital, at Washington, D.C.. Incredibly rare among early Stars & Stripes, single wreaths are almost never encountered in any star count. Lopsided and whimsical, stretched nearly to confines of the rectangular, blue canton, this particular arrangement conveys strong, graphic impact. Among its counterparts with 13 stars, specifically, just a handful are known that pre-date the last decade of the 19th century. All but one of these I have had the great privilege to own. In a circular format (excluding this example), I know of just three flags with a single ring of stars. In an oval, there is but one other extant. Formerly in the collection of Boleslaw and Marie D’Otrange Mastai, who published the first color illustrated reference for flag collectors in 1973, in “The Stars & The Stripes” (Knopf, New York, p. 46, the Mastai’s attributed the configuration on their unique variant to a sketch rendered by Pierre L’Enfant in the closing year of the Revolution. This appeared in a rough sketch, following a request of Major General Baron Von Steuben, one of Washington’s most trusted military advisors. Just after the close of the war, in 1783, Steuben asked L’Enfant to create a diploma for members of a newly formed fraternal organization called the Society of the Cincinnati, the elite membership of which consisted of commissioned Colonial Army officers. Washington himself served as the Society’s President General until his 1799 death. Though the reason behind L’Enfant’s suggestion of an oval star pattern remains unknown, I would suggest that it bore a purpose of some sort. Steuben, who served as both Inspector General of the Colonial Army and as Washington’s Chief of Staff for much of the war, was not someone to whom details were of short value. Born Friedrich Wilhelm Ludolf Gerhard Augustin Louis Freiherr von Steuben, the Baron was known for formality and opulence. Heraldry was of great import in his native Prussia, where Steuben served as aide-de-camp to King Frederick II, then as chamberlain to the Prince of Hohenzollern-Hechingen, where he is reported to have earned his ‘Baron’ title. Curiously, the oval star pattern survives only on L’Enfant’s draft, as opposed to the actual, French-engraved plate or the diplomas it produced. The shape was a popular one in neoclassical French design, popular in the American Federal Period. Though it remains entirely possible that L’Enfant simply felt it elegant or otherwise suitable, or that he had a fondness for ovals, he does not strike me as someone who would have considered the selection lightly, especially when it was so unusual. Whatever the case may be, it is of interest to note that the use of oval and egg shaped designs became meaningful 100 years later, during the 1876 Centennial of American independence, where they were selected to memorialize the birth of the nation. The flag that is the subject of this narrative exhibits the stenciled mark of William F. Scheible, who opened a shop that spanned 47-49 South 3rd St., Philadelphia, in the mid-1850’s, advertising as a stencil cutter, while producing awnings, lithographs, and eventually flags. By the time of the 1860 presidential election, he is known to have been manufacturing campaign flags, and by 1861, held military contracts through multiple federal supply depots, namely the Schuylkill Arsenal (later Philadelphia Quartermaster Depot), and the New York Quartermaster Depot in Manhattan. In terms of his having produced a 13 star flag with a single wreath pattern, it is of particular interest to note that Scheible operated about halfway between the Betsy Ross House and Independence Hall, situated about 2 blocks from each. In spite of his having produced thousands of flags within the 1850-1870 era, and in spite of my role as the most aggressive buyer of all manner of both Civil War and campaign flags, for a very long time, I have yet to encounter a single example with a Scheible mark, outside a tiny handful in institutional collections. Though researchers have identified certain styles of both national and regimental colors, as having been produced by Scheible’s shop, it is of interest to note that no campaign flags survive with his signature, nor any that fall outside the general category of regulation military colors. Further, among the few Scheible stencils I have seen, none share the bold, arched format present here, that reads: “WM. F. SCHEIBLE; MAKER; 49 South 3rd. St.; Philadelphia.” Why 13 stars?For reasons both practical and celebratory, 13 star flags have been produced almost continuously throughout American history, from the beginning to the present. In a commemorative capacity, they were hoisted at patriotic events, such as Lafayette’s final visit to America, and Grand Tour, in 1824-1825, and at the 1876 centennial of American independence, as well as annual celebrations of July 4th. They were displayed during the Civil War, to reference past struggles for American liberty, and were displayed by 19th century politicians, for campaigning, with the same purpose. The U.S. Navy employed the 13 star count on small boats, in addition to various other low counts, because it was easier to discern a smaller number of stars at a distance, on a small flag. Since commercial ships often mirrored Navy practice, especially with regard to use of signals, some private ships flew 13 star flags, as well, during the same period as the Navy. The practice generally endured until a 1916 Executive Order of President Woodrow Wilson put an end to it, just prior to America’s involvement in WWI (1917-18). Because there was no official star configuration for the American flag until 1912, shortly following the addition of the 47th & 48th states, their arrangement was left to the whims of the maker. Flag makers both commercial and at home took great advantage of such leniency. Across both illustrations of the 18th and 19th centuries, as well as actual, surviving flags, I have documented more than 80 different star designs, simply within the 13 star count alone. Though the first public telling of the story of Betsy Ross occurred in 1870, in a paper written by Betsy’s grandson, William Canby, to the Pennsylvania Historical Society, he made no mention of the flag’s appearance, save that the stars were 5-pointed, per his grandmother’s suggestion. In fact, the circular configuration, so universally tied to the Ross name, does not actually get linked to Betsy until artist Charles Weisgerber paints what would become the most widely recognized image of her, in a fabled meeting with George Washington, Robert Morris, and George Ross, to discuss the flag’s design and potential means of construction (1892). This briefly preceded Weisgerber’s acquisition of the Betsy Ross House (1898), which he opened to the public as a museum, as well as the making of little flags by Betsy’s great-granddaughter, Rachel Albright, in the East Wing of Independence Hall (also 1898), that she sold to tourists while relaying family lore. Widely disseminated, the tale solidified into myth. By the 1920’s, the Betsy Ross pattern was forever etched in the minds of Americans. For this reason, flags in this style, as well as its practically non-existent, oval counterpart, are very desirable in the marketplace for both antique and vintage examples. With almost none that pre-date the last decade of the 19th century, the opportunity to acquire one is singular, when present at all. Construction: The stars of the flag are made of cotton, hand-sewn, and double-appliquéd (applied to both sides). Both the canton and stripes are made of wool bunting. Because wool bunting was generally available in widths of 18 inches during the late 18th and 19th centuries, the canton was assembled from 2 lengths of fabric, joined by treadle stitching. The canton was joined to the striped field by hand stitching. Save for limited areas, the majority of the seams were treadle-sewn. The canton and stripes of the flag were folded back onto themselves along the hoist and hemmed for stability, in a manner often seen in U.S. Navy flags of the mid-19th century. There is a hand-sewn binding with three, buttonhole, whip-stitched grommets. The Scheibel stencil appears near the bottom of this, on the obverse (front). Near the top, on the same side, are multiple instances of an ink-stamp that reads “Frank Krouse.” This would be the name of a former owner. The rectangular patches at the top and bottom of the hoist end, called gussets, were included for additional support at points in which the flag experienced the greatest stress when flown, were applied by hand, and are original to the flag’s construction. Also of significance is the flag’s small size among its counterparts with pieced and sewn construction. In early America, flags needed to be large, in order to serve well in their function as signals, that needed to be seen from great distance, as opposed to today, where their use is moreover decorative and for the general display of patriotism. While parade flags (a.k.a., hand-wavers), printed on cotton, silk, or sometimes on wool, made to be tacked to a staff, to be waved at parades and political events, were generally 3 feet long or smaller, those with sewn construction, prior to the 1890's, were generally 8 feet long and larger. A 6-footer was considered small. Measuring just shy of 5 feet in length on the fly, this is an attractive scale for a collector, large enough to make a statement, yet small enough for manageable indoor display. Mounting: The flag was mounted and framed within our own conservation department, which is led by expert staff. We take great care in the mounting and preservation of flags and have framed thousands of examples. The background is 100% cotton twill, black in color. The black-painted and hand-gilded molding, with its wide, serpentine profile, is Italian. The glazing is Optimum Museum Acrylic (Plexiglas), U.V. protective, anti-glare, and scratch resistant. Feel free to contact us for more details. |
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| Collector Level: | Flags for the truest Patriots. My best offerings |
| Flag Type: | Sewn flag |
| Star Count: | 13 |
| Earliest Date of Origin: | 1861 |
| Latest Date of Origin: | 1865 |
| State/Affiliation: | Pennsylvania |
| War Association: | 1861-1865 Civil War |
| Price: | Please call (717) 676-0545 or (717) 502-1281 |
| E-mail: | info@jeffbridgman.com |
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