Clothing & Accessories

Women's Gown (cheong sam) ca. 1930

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

Date: 1860s

Winter Pleasure in the Country

Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.Currently not on view
Description (Brief)
Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.
Location
Currently not on view
date made
ca 1865
maker
Kimmel and Forster
ID Number
DL.60.2645
catalog number
60.2645
accession number
228146

fashion plate

Currently not on view
Location
Currently not on view
Date made
1861
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.045
catalog number
033675.045
accession number
70138

fashion plate

Currently not on view
Location
Currently not on view
Date made
1860
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.179
catalog number
033675.179
accession number
70138

fashion plate

Currently not on view
Location
Currently not on view
Date made
1861
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.031
catalog number
033675.031
accession number
70138

Independence Fire Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This hat is painted orange/red overall, with a central portrait of Thomas Jefferson set inside a golden circular frame. The portrait is flanked by two dark blue banners that read “INDEPENDENCE/FIRE COMPANY” in gold paint. The date “1847” is painted in gold on the back of the hat between two gold lines. The owner’s initials “W.A.Mc.A.” are painted in gold on the crown of the hat. This hat was likely used by a member of the Independence Fire Engine Company, located in the Callowhill area of Philadelphia, Pennsylvania. The Independence Fire Engine Company No. 39 was founded in 1847 as a hand engine company. It acquired a steam fire engine in 1863 and operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
1810-1860
associated
Independence Fire Company
depicted
Jefferson, Thomas
maker
unknown
ID Number
2005.0233.0110
catalog number
2005.0233.0110
accession number
2005.0233

fashion plate

Currently not on view
Location
Currently not on view
Date made
1860
1860-10-00
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.001
catalog number
033675.001
accession number
70138

Increase in the Family

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is an interior scene with full length portraits of grandmother, mother and two children, one of whom is an infant being nursed by the mother. The older child holds a basket of kittens and mother cat is grabbing at her apron. All are wearing simple, everyday dress. Depicted furnishings include chairs with wicker bottoms, a chest, a tray and a two shelf bookcase is hung on the wall with wire. Vase and sewing accessories are on the window sill, while toys are scattered on the floor.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1860
distributor?
Whiting, F. P.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2245
catalog number
60.2245
accession number
228146

Keystone Hook and Ladder Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was likely used in Pennsylvania during the first half of the 19th century. The hat is painted brown overall with the number “1” painted in gold with a crossed hook and ladder behind the number. The word “Keystone” is painted in gold on a gold-lined banner above the number “1.” The owner’s initials “H.S.G.” can be faintly seen on the back of the hat. “Keystone” was a popular name for fire companies throughout Pennsylvania, including the Keystone Hook and Ladder Company No. 1 of Reading, where this hat may have been used.
Location
Currently not on view
date made
1810-1860
maker
unknown
ID Number
2005.0233.0067
catalog number
2005.0233.0067
accession number
2005.0233

Cecelia

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This three-quarter length hand colored print is of a young dark haired woman standing in front of a window. She is holding a letter in one hand and a sprig of flowers in the other. She is wearing a simple gold dress with a flower on her chest. Behind her is a window surrounded by heavy drapery and a scene of a man walking on a path.
This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s lithography firm.
Location
Currently not on view
date made
1852-1860
distributors
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2500
catalog number
60.2500
accession number
228146
maker number
295

fashion plate

Currently not on view
Location
Currently not on view
Date made
1860
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.025
catalog number
033675.025
accession number
70138

Hope Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in Philadelphia, Pennsylvania in the first half of the 19th century. The hat is painted black overall, with a painting at its center featuring a female figure clothed in a white robe with an anchor at her side and stormy sea behind her. The painting is flanked by red banners with gold trim that read “HOPE / HOSE COMPY” in gold lettering. The back of the hat features the word “HOPE” in large golden letters, with two golden lines above and below. The female figure with anchor is a classical allegorical representation of Hope. Hope Hose Company No. 7 was founded in 1805 in Philadelphia. It was the second Philadelphia fire company to acquire a steam fire engine in 1858, and it changed its name to the Hope Steam Fire Engine Company No. 2.
Location
Currently not on view
date made
1810-1860
associated
Hope Hose Company
maker
unknown
ID Number
2005.0233.0057
catalog number
2005.0233.0057
accession number
2005.0233

fashion plate

Currently not on view
Location
Currently not on view
Date made
1860
bequest of
James, Catalina Juliana Mason Myers
ID Number
CS.033675.017
catalog number
033675.017
accession number
70138

Northern Liberty Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
The artistry on this Northern Liberty Hose Company hat combines a number of patriotic emblems. The female figure, an allegorical image of Liberty, is a personification of the United States. In her left hand, she holds a pole with a red liberty cap on top. The liberty cap was originally a Roman symbol given to freed slaves. It became an internationally known symbol of the American Revolution when colonists carried them atop poles in parades and rallies. This fire hat was used by a member of the Northern Liberty Hose Company No. 16 of Philadelphia, Pennsylvania, organized in 1828. Also known as Northern Liberty Hose Company No. 4, it operated as a hose company in the Northern Liberty section of Philadelphia. It acquired a steam fire engine in 1859 and changed its name to the Northern Liberty Hose and Steam Fire Engine Company No. 4. It operated until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
1835-1860
associated
Northern Liberty Hose Company No. 4
maker
unknown
ID Number
2005.0233.0073
catalog number
2005.0233.0073
accession number
2005.0233

Union Fire Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat dates to the first half of the 19th century. The front of the hat has the text “Union Fire Co.” in gold on an arching banner over a painted gold shield with the painted number “1” at the center. The back of the hat has the date “1747” flanking fasces, though lacking the fasces’ commonly depicted axe. The fasces, a bundle of wooden sticks, were a classical Roman symbol for the power of the state, as well as denoting strength through unity. This symbol would have been used by early American volunteer firefighters to link the young country to the republican ideals of the past, as well as a symbol of their unity.
Location
Currently not on view
date made
1810-1860
associated
Union Fire Company
maker
unknown
ID Number
2005.0233.0104
catalog number
2005.0233.0104
accession number
2005.0233

The Black Valley Railroad by artist Emile Ackerman and lithographed by J. Mayer and Company

This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station".
Description
This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station". The train is leaving a tranquil valley and heading toward doom with skeletons and snakes in the background. The print has a considerable amount of descriptive and interpretive text.
This print was created by the artist Emil F. Ackermann, who was born in Dresden, Germany in 1840 and came to the United States in 1848. Ackermann eventually went to work for the lithography firm of J.H. Bufford and Sons, which produced the lithograph in the 1860s.
It was issued by the Massachusetts Temperance Alliance and published by Reverend Steadman Wright Hanks in his book The Crystal River Turned Upon the Black Valley Railroad and Black Valley Country -- A Temperance Allegory (also known as The Black Valley: The Railroad and the Country). Hanks called the print "probably the most successful temperance lecture in the country." Stedman Wright Hanks (1811-1889) was a Congregational minister in Lowell, Massachusetts, as well as an author, artist, and fervent supporter of both the temperance and anti-slavery movements. Hanks spoke to audiences around the United States about the evils of overindulging in alcohol. In addition to his book about the Black Valley Railroad, his published works included Sailor Boys, or, Light on the Seaand Mutineers of the "Bounty and compiled a temperance song book and served as a representative in the Massachusetts General Court. He is also noted for performing the sermon commemorating John Quincy Adams death at the St. John Street Congregational Church.
This print was produced by J. Mayer and Company. Julius Mayer was a lithographer in Boston from 1857-1872. He was associated with Prang & Mayer (1857-1860), Mayer & Stetfield (1861-1862), and J. Mayer & Co. (1863-1872). His prints included scenes of Boston and Portland, Maine.
Location
Currently not on view
Date made
1863
copyright holder
Hanks, S. W.
artist; engraver
Ackermann, Emil
lithographer
J. Mayer and Company
ID Number
DL.60.2890
catalog number
60.2890
accession number
228146

Globe Fire Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted black overall with the text “GLOBE/1820” painted in gold on the front of the hat. The letter “G” is painted in gold on the back of the hat. The crown of the hat has an illustration of an eagle perched on a globe, with a banner in its beak that reads “W.R.” (likely the owner’s initials). The Globe Fire Engine Company No. 30, located in the Kensington neighborhood of Philadelphia, Pennsylvania, was founded on May 22, 1820 and incorporated March 9, 1847. The company took its name from the nearby Globe Mills, a factory where some of its members were employed. Founded as a hand engine company, it acquired a steam fire engine in 1863 and operated as steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
1820-1860
maker
unknown
ID Number
2005.0233.0047
catalog number
2005.0233.0047
accession number
2005.0233

Germantown Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used by a member of the Germantown Hose Company No. 37 of Philadelphia, Pennsylvania, organized in 1848 and operated until 1871 when Philadelphia’s paid firefighting department was established. The fire hat has been painted red overall, and the front of the hat has the text “GERMANTOWN/HOSE” painted in gold around a golden number “1” on a black background surrounded by a golden sunburst. This represents the fact that it was the first hose company organized in the Germantown section of Philadelphia, a separate municipality before it was consolidated into the city in 1955. The date “1848” is painted in gold with black shadowing on the back of the hat.
Location
Currently not on view
date made
1810-1860
associated
Germantown Hose Company
maker
unknown
ID Number
2005.0233.0050
catalog number
2005.0233.0050
accession number
2005.0233

Woman's Dress, 1860

This dress was worn by Emeline Butler Posey, who was born September 12, 1836, as a “second day” dress when she married Henry Dixon Posey in November 1860 in Henderson County, Kentucky. She was the daughter of Harbison Butler, a prosperous farmer in the area.
Description
This dress was worn by Emeline Butler Posey, who was born September 12, 1836, as a “second day” dress when she married Henry Dixon Posey in November 1860 in Henderson County, Kentucky. She was the daughter of Harbison Butler, a prosperous farmer in the area. In addition to Emeline, Harbison and Mary Butler had seven children. The last was born in 1854, and Mrs. Butler died before the 1860 Census. Henry’s parents were also farmers, and in addition to Henry Dixon, his parents had twelve children.
It does not appear that Emeline saved her wedding dress, but both the “second day” dress with headdress and Mr. Posey’s wedding vest were passed down through the family until they were donated to the Smithsonian Institution in 1989. From what little we know about the “second day” tradition, we believe that this special dress was worn for wedding festivities the day after the wedding. Many women, especially in the South, had their photographs taken in their “second day”dress. The photograph pictured here shows Emeline Posey wearing this dress. We do not have the collar which would have been a separate piece.
The dress itself is very fashionable for the period. The skirt is very full and would have required a very large hoop, circular in form, to create the proper silhouette. Even then, it is evident from the dress that Mrs. Posey was a tall and very slender woman, and the skirt is much longer than usual.
This one-piece “second day” dress is constructed from deep green, black, and gold thread plaid silk with a woven pattern stripe. The fitted bodice has a center front opening with twelve pairs of brass hooks-and-eyes and eight deep green acorn-shaped buttons with silk thread covering and tassels for a closure. It has a round neckline and sloping shoulders with dropped, shaped long sleeves with capped over sleeves and diagonal cuffs at the wrist. One and one-eighth-inch wide trim consisting of vertical green moiré embroidered silk thread lozenges and one-eighth-inch wide black silk pleated with a picot-edge border is applied to the cuffs and the cap over sleeves. The waistline is straight with inserted piping, and the attached pleated skirt section is very full. The bodice is lined with glazed white cotton with green glazed cotton lining the sleeves. Four stays are inserted in the front bodice. The dress measures 55 1/4 inches at the center back.
Location
Currently not on view
Date made
1860
1860-11-08
used by
Posey, Emeline Butler
maker
unknown
ID Number
1989.0295.014
accession number
1989.0295
catalog number
1989.0295.014

Washington 1796 Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat dates to the first half of the 19th century. The hat is painted brown overall with the text “WASHINGTON / 1796” painted in gold on the front of the hat. The back of the hat has the number “14” painted in gold with stylized lines above and below the number. The owner’s initials “S.J.” are painted on the crown of the hat in gold. A note inside the hat indicates these initials may stand for a volunteer named S.C. Johnson. The Washington Fire Company No. 14 was founded on January 3, 1796 in Philadelphia, Pennsylvania on the west side of Eleventh Street. It operated as a hand engine fire company and acquired a steam fire engine in 1865. It served as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
1810-1860
associated date
1796
maker
unknown
ID Number
2005.0233.0093
catalog number
2005.0233.0093
accession number
2005.0233

The Famous Roan Horse Capt Mc Gowan as He Appeared in His 20th Mile

Color print of a trotting horse (Capt. McGowan) pulling a sulky on a racetrack. A white picket fence borders the track. The caption indicates that this is River Side Park, Brighton, Mass. on Oct.
Description (Brief)
Color print of a trotting horse (Capt. McGowan) pulling a sulky on a racetrack. A white picket fence borders the track. The caption indicates that this is River Side Park, Brighton, Mass. on Oct. 31, 1865.
Description
A color print of a brown horse attached by a light harness to a sulky with a driver who is intent on holding the reins. The driver wears a heavy red sweater and beaked cap. The sulky is red and highly polished. A picket fence borders the track. Pretentious country homes are in the wooded area beyond the park. It is a scene of River Side Park, Brighton, Mass. on Oct. 31, 1865.
Captain McGowan was bred in 1857 by Sovereign and Sally Miller, but his pedigree is debated. It is believed that he was born in Kentucky and owned by Samuel Emerson of Boston. He set a record in 1865 of trotting 20 miles in one hour (56 minutes, 25 seconds).
Location
Currently not on view
Date made
1865
maker
J. H. Bufford and Sons
ID Number
DL.60.3595
catalog number
60.3595

Hope Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in Philadelphia, Pennsylvania in the first half of the 19th century. The hat is painted black overall, with a painting at its center featuring a female figure clothed in a white robe with an anchor at her side and stormy sea behind her. The female figure with anchor is a classical allegorical representation of Hope. The painting is flanked by red banners with gold trim that read “HOPE / HOSE COMPY” in gold lettering. The back of the hat features the word “HOPE” in large golden letters, with two golden lines above and below. The crown of the hat has the owner’s initials “F.G.” painted in gold. Hope Hose Company No. 7 was founded in 1805 in Philadelphia. It was the second Philadelphia fire company to acquire a steam fire engine in 1858, and it changed its name to the Hope Steam Fire Engine Company No. 2.
Location
Currently not on view
date made
1810-1860
associated
Hope Hose Company
maker
unknown
ID Number
2005.0233.0059
catalog number
2005.0233.0059
accession number
2005.0233

Union Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in the eastern United States during the early 19th century. The hat is painted brown overall, with arched white block lettering on the front that reads “UNION HOSE.” The back of the hat has the date “1760” painted in white. Hose companies did not exist prior to the 19th century, but many hose companies did link themselves to previously existing fire companies and took that founding date, which is likely what happened in this case.
Location
Currently not on view
date made
1810-1860
maker
unknown
ID Number
2005.0233.0088
catalog number
2005.0233.0088
accession number
2005.0233

fashion plate

Currently not on view
Location
Currently not on view
Date made
1860
ID Number
CS.033675.210
catalog number
033675.210

Woman's Dress, 1862–68

This dress was worn by Sallie Mason Faulkner in Christian County, Kentucky. Born Sallie Coleman Mason on July 28, 1847, she married Ephraim James Faulkner on December 9, 1862 when she was just fifteen. Mr.
Description
This dress was worn by Sallie Mason Faulkner in Christian County, Kentucky. Born Sallie Coleman Mason on July 28, 1847, she married Ephraim James Faulkner on December 9, 1862 when she was just fifteen. Mr. Faulkner, who was a farmer, came from a neighboring county but purchased land in Christian County in the 1860s. Mrs. Faulkner died in 1868, six years after they were married. According to family tradition, this was the dress she wore the day she died. We do not know the cause of her death. She had four children, one of whom died in infancy. Their granddaughters donated this dress to the museum. At the time of the donation, the donors stated that Ephraim had served in the Federal (Union) Army during the Civil War. Their other grandfather (maternal) had served in the Confederacy. This would not have been unusual, as Kentucky was divided over the issue of slavery. However, to date we have been unable to track down Ephraim's service records on either side of the conflict.
Based on its construction, this dress would have been considered a "work" dress. Most work dresses of the mid-nineteenth century have an inset waistband, fuller sleeves, and a bodice cut with a looser fit than more stylish dresses. However, this dress includes decorative trimming. As we learn more about the family’s economic circumstances, we might be able to ascertain whether this was an everyday dress of a woman from a substantial farm family or a "best" dress of a less affluent farm woman.
This one-piece dress is constructed from a printed cotton calico that has a brown ground with an abstract design in beige, red, and cream. The unlined bodice section has a slightly V-neckline edged with piping. A center front opening has six worked buttonholes on the left side and dark gray buttons on the right side, and is trimmed with a narrow white braid to create a placket effect. The inset waistband is piped at the bottom edge and is lined with a napped fabric. The bodice front is gathered into the waistband at either side of the center front, and the bodice back is cut in one piece and gathered into the waistband at the center back. The front of the bodice extends slightly into the back at the shoulders and the side seams. The long sleeves are gathered into the armholes with piping. The sleeves are also gathered to wristbands that are trimmed with the same narrow white braid as the center front. The wristbands fasten with a worked buttonhole at the wrist closure. The skirt section is narrowly gathered and attached to the waistband with the upper raw edge of the skirt concealed between the waistband and the lining. Two metal hooks-and-eyes form the skirt section closure at the center front waistband. The hem is faced with coarse brown cotton. The waist measures 27 inches.
Location
Currently not on view
Date made
1862 - 1868
1862-1868
user
Faulkner, Sallie Mason
maker
unknown
ID Number
CS.306799.001
catalog number
306799.001
accession number
306799

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