Cultures & Communities

Cleveland Many Peoples One Language Poster

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

Date: 1840s

1835 - 1845 Quaker Trousseau Pieced Quilt

An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil.
Description
An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil. ca 1840 made for wedding of bride of early Philadelphia Quaker Abolitionist of pieces from the gowns of her trousseau.” Unfortunately there is no indication of the quilt maker or ownership.
The focus of the 41-inch central square, “Star of Bethlehem,” is set off by a 5-inch octagonal border. Additional pieced and plain borders frame this variation of a medallion-style quilt. The beige, tan, brown, rust, and light grey silks and satins utilized for the pattern would be typical of the Quaker esthetic and period. The quilt is lined with roller printed cottons and filled with wool. It is quilted with a variety of geometric patterns (grid, diagonal, chevron, and parallel lines), feathered and flowering vines in the borders, and a spray of flowers in the corner squares. This quilt is a precisely designed example of Quaker quilts in the mid-19th century.
Location
Currently not on view
date made
1835-1845
maker
unknown
ID Number
TE.E388880
accession number
182022
catalog number
E388880

Fire Department’s Insurance Company

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Fire Department’s Insurance Company of Cincinnati, Ohio produced this fire mark in 1841. The rectangular cast iron fire mark features a raised central image of a double-decker hand pumped fire engine. The Fire Department’s Insurance Company was established in 1837 when the volunteer fire engine companies in Cincinnati started an insurance company for the benefit of the department. Each fireman could hold only 50 shares personally, and each fire company could hold no more that 1,500 shares though its individual members or by itself. Ten percent of the dividend was given to the Fire Association of Cincinnati to create a fund for the relief of sick or disabled firemen. The company remained in business until around 1848.
Location
Currently not on view
date made
1841
maker
unknown
ID Number
2005.0233.0459
accession number
2005.0233
catalog number
2005.0233.0459

Penn Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Penn Insurance Company of Pittsburgh, Pennsylvania issued this fire mark in 1841. The mark consists of a two dimensional bust of William Penn cast in relief, who is depicted wearing a tricorne hat, cravat, and jacket. Underneath the bust is a crescent-shaped banner that reads “INSURED” in raised block text. The bust is painted gold, and the text is painted brown. The Penn Insurance Company operated from 1841 until 1845, closing after the great fire in Pittsburgh in April of 1845.
Location
Currently not on view
date made
1841
maker
unknown
ID Number
2005.0233.0504
accession number
2005.0233
catalog number
2005.0233.0504

Insurance Company of Florida Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Insurance Company of Florida of Jacksonville, Florida issued this fire mark in 1841. The Insurance Company of Florida lasted only a few years. The wooden initials “IF” are affixed to a shield-shaped wooden backing.
Location
Currently not on view
date made
1841
maker
unknown
ID Number
2005.0233.0380
accession number
2005.0233
catalog number
2005.0233.0380

Missouri State Mutual Fire and Marine Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Missouri State Mutual Fire and Marine Insurance Company issued this zinc fire mark around 1849. The oval mark has raised text that reads, “MISSOURI / STATE / MUTUAL.” The mark has been painted red. The Missouri State Mutual Fire and Marine Insurance Company operated from 1849 until 1907.
Location
Currently not on view
date made
1849
maker
unknown
ID Number
2005.0233.0532
accession number
2005.0233
catalog number
2005.0233.0532

Propeller Indiana’s Steam Whistle

The ship’s steam whistle was powered by a steam line from the boiler. It was used to signal other ships or the shore, to let them know of its presence or its intentions. It was especially useful when approaching or leaving port, or in foggy or dark waters.
Description
The ship’s steam whistle was powered by a steam line from the boiler. It was used to signal other ships or the shore, to let them know of its presence or its intentions. It was especially useful when approaching or leaving port, or in foggy or dark waters.
Date made
1848
ID Number
1982.0241.01
accession number
1982.0241
catalog number
82.0241.01

The Propeller Indiana’s “Philadelphia Wheel”

Indiana's propeller was manufactured by Spang & Co. of Pittsburgh, PA, as stamped on one of the blades.
Description
Indiana's propeller was manufactured by Spang & Co. of Pittsburgh, PA, as stamped on one of the blades. This firm, a large iron manufacturing company centered in Pittsburgh, PA, was founded in 1828 and was one of the earliest and largest manufacturers of iron products in the United States.
The hub of the propeller is cast iron; the blades are rolled iron. One of the intact blades is chipped and dented, suggesting a collision. Another blade is missing outside the yellow line, which marks where a large section broke loose, probably from hitting an object in the water. This piece struck the Indiana's sternpost, literally “shivered her timbers,” and started the leak that sank the ship. The blade broke off completely when the ship struck the lakebed and was found at the wreck site, buried in the sand under the stern post. It is reproduced here in fiberglass.
The closest design is by Richard Loper of Philadelphia, who registered three propeller-related patents in 1844 and 1845 and licensed his ideas to shipbuilders Reany, Neafie & Co., also of Philadelphia. Contemporary accounts state that Loper’s design was the most popular in the Great Lakes region, and some Lakes propeller manufacturers even advertised his design as the “Philadelphia Wheel.”
Date made
1848
possible patentee
Loper, Richard
maker
Spang & Company
ID Number
1979.1030.05
catalog number
1979.1030.05
accession number
1979.1030

"What Hath God Wrought" Telegraph Message

Telegraph message, printed in Morse code, transcribed and signed by Samuel F. B. Morse.
Description
Telegraph message, printed in Morse code, transcribed and signed by Samuel F. B. Morse. This message was transmitted from Baltimore, Maryland, to Washington, D.C., over the nation's first long-distance telegraph line.
In 1843, Congress allocated $30,000 for Morse (1791-1872) to build an electric telegraph line between Washington and Baltimore. Morse and his partner, Alfred Vail (1807-1859), completed the forty-mile line in May 1844. For the first transmissions, they used a quotation from the Bible, Numbers 23:23: "What hath God wrought," suggested by Annie G. Ellsworth (1826-1900), daughter of Patent Commissioner Henry L. Ellsworth (1791-1858) who was present at the event on 24 May. Morse, in the Capitol, sent the message to Vail at the B&O Railroad's Pratt Street Station in Baltimore. Vail then sent a return message confirming the message he had received.
The original message transmitted by Morse from Washington to Baltimore, dated 24 May 1844, is in the collections of the Library of Congress. The original confirmation message from Vail to Morse is in the collections of the Connecticut Historical Society.
This tape, dated 25 May, is a personal souvenir transmitted by Vail in Baltimore to Morse in Washington the day following the inaugural transmissions. The handwriting on the tape is that of Morse himself. Found in Morse’s papers after his death the tape was donated to the Smithsonian in 1900 by his son Edward, where it has been displayed in many exhibitions.
Location
Currently not on view
date made
1844-05-25
1844-05-24
associated date
1844-05-24
donated
1900-04-18
associated person
Morse, Samuel Finley Breese
maker
Morse, Samuel Finley Breese
ID Number
EM.001028
catalog number
001028
accession number
65555

Kentucky and Louisville Mutual Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Kentucky and Louisville Mutual Insurance Company of Louisville, Kentucky issued this tinned sheet iron fire mark in 1840. The oval mark has “KY” inscribed in the center.
Location
Currently not on view
date made
1840
maker
unknown
ID Number
2005.0233.0540
accession number
2005.0233
catalog number
2005.0233.0540

Ringgold 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 dates to the first half of the 19th century. The hat is painted black overall with a painted portrait of Samuel Ringgold in the center framed in gold. Red banners with gold trim flow around the portrait that read “RINGGOLD/HOSE Co.” in gold paint. The company’s initials “RHC” are painted in gold script on the back of the hat. The owner’s initials “H.M.” are inside an outline of a shield on the crown of the hat. This hat was likely used by a member of the Ringgold Hose Company No. 33 of Philadelphia, Pennsylvania, founded in 1847 and operated until 1871 when Philadelphia’s paid firefighting department was established. While many firefighting companies chose past heroes of the Revolution and Early Republic as their namesakes, others selected contemporary military and political figures. Samuel Ringgold was a hero of the Mexican-American War best known for his innovations in artillery deployment. He was mortally wounded at the Battle of Palo Alto in 1846.
Location
Currently not on view
date made
ca 1846
associated
Ringgold Hose Company
depicted (sitter)
Ringgold, Samuel
maker
unknown
ID Number
2005.0233.0115
catalog number
2005.0233.0115
accession number
2005.0233

"Marquis de Lafayette" Engine Panel Painting

In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
The painted cartouche is attributed to the Lafayette Hose Company No. 22 of Philadelphia, Pennsylvania that was active from 1833-1871. The fact that the painting is small and circular indicates that it may not have been a fire engine panel, and could have been used for a funeral procession honoring Lafayette after his death. Lafayette was highly respected due to his military service in the Continental Army and the role France played in winning the Revolutionary War. He was greeted with parades and celebrations on his return to the United States in 1824, and many fire companies participated in funeral processions upon his death to honor his contribution to the founding of the nation.
Location
Currently not on view
date made
1830-1849
artist attribution
Sully, Thomas
Woodside, John Archibald
ID Number
2005.0233.0315
accession number
2005.0233
catalog number
2005.0233.0315

"Lafayette Hook & Ladder Company No. 1" Carved Panel

This shield is modeled after the United States shield, with 13 red and white stripes and blue field with gold stars.
Description (Brief)
This shield is modeled after the United States shield, with 13 red and white stripes and blue field with gold stars. The center of the shield bears a crossed torch and axe behind the number “1,” and reads “Lafayette H&L Co, Organized July 21, 1845.” Behind the shield is a crossed ladder and hook. A hook and ladder company would often work in conjunction with hose and engine companies to fight fires.
Location
Currently not on view
date made
ca 1845
maker
unknown
ID Number
2005.0233.0321
accession number
2005.0233
catalog number
2005.0233.0321

Home Mutual Fire and Marine Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Home Mutual Fire and Marine Insurance Company of St. Louis, Missouri issued this fire mark around 1848. The rectangular mark has inversely rounded edges, with the image of two clasped hands shaking in the center, and raised text on the top and bottom that reads “HOME/MUTUAL.” The Home Mutual Fire and Marine Insurance Company operated from 1845 until 1880.
Location
Currently not on view
date made
ca 1848
maker
unknown
ID Number
2005.0233.0530
accession number
2005.0233
catalog number
2005.0233.0530

Missouri State Mutual Fire and Marine Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Missouri State Mutual Fire and Marine Insurance Company issued this zinc fire mark around 1849. The oval mark has raised text that reads, “MISSOURI / STATE / MUTUAL.” The mark has damage in the areas where it would have been attached to the building. The Missouri State Mutual Fire and Marine Insurance Company operated from 1849 until 1907.
Location
Currently not on view
date made
1849
maker
unknown
ID Number
2005.0233.0533
accession number
2005.0233
catalog number
2005.0233.0533

Good Will Company Cape

Some early American firefighters wore capes for protection, ornamentation, and identification.
Description
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape has been painted red overall with the name “Good Will” written in gold, with the date “1804” below. The number “3” is painted in gold on each shoulder. This cape likely belonged to a member of the Good Will Steam Fire Engine Company No. 3 of Trenton, New Jersey. The Good Will Fire Company was originally organized in January of 1848, but after it became an auxiliary company to the Resolution Fire Company in December of that same year, it took the Resolution Company’s founding date of 1804 for its own.
Location
Currently not on view
date made
ca 1804
maker
unknown
ID Number
2005.0233.0126
catalog number
2005.0233.0126
accession number
2005.0233

Scrimshaw Tooth

Women and ships were the most popular subjects for scrimshaw carved by crewmen on long, slow whaling voyages.
Description
Women and ships were the most popular subjects for scrimshaw carved by crewmen on long, slow whaling voyages. In this deeply engraved example, a beautifully coiffed and fashionable young lady, possibly in mourning dress, has pulled a locket from her bodice and is gazing at the image of a smiling young man. The curls of her girlish hairstyle would indicate that she is unmarried, although the traditional ring finger of her left hand is not shown. The mid-19th-century date of this tooth is suggested by the style of the dress.
Date made
ca 1840
maker
unknown
ID Number
TR.374506
catalog number
374506
accession number
136263

"Translation of Psyche" Engine Panel Painting

In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This fire engine panel painting came from the Americus Fire Engine Company No. 6 of New York, New York. The volunteer company was active from December 11, 1848 until September 18, 1865. John Archibald Woodside Sr. painted the Translation of Psyche around 1849. The painting depicts the mortal Psyche ascending to her new residence on Mount Olympus to become one of the gods. Such neoclassical themes on panel paintings linked the new nation to the ancient ideals of liberty, democracy and prosperity. The use of neoclassical images also allowed artists to paint an ideal nude female form that would make their beloved engine especially eye-catching during parades. This painting and its companion (2005.0233.0304) adorned the company’s 1842 John Agnew hand-pumped engine.
Location
Currently not on view
date made
ca 1849
maker
Woodside, John Archibald
ID Number
2005.0233.0303
accession number
2005.0233
catalog number
2005.0233.0303

The Factory Girl's Song

This broadside contains the lyrics to “The Factory Girl’s Song,” a folk song whose origins date back at least to the 1830s. The song’s nineteen 4-line stanzas describe the daily work of the mill girls in different jobs: spinning, weaving, and dressing the finished cloth.
Description
This broadside contains the lyrics to “The Factory Girl’s Song,” a folk song whose origins date back at least to the 1830s. The song’s nineteen 4-line stanzas describe the daily work of the mill girls in different jobs: spinning, weaving, and dressing the finished cloth. At the end the singer tells of returning home to marry, giving up the rigors of tending the machinery and working for harsh overseers. The song may have originated in Lowell, Massachusetts, but some scholars suggest that the reference to wages earned in “shillings” instead of dollars may mean it had connections to Canadian immigrants to the Lowell textile mills. Several iterations of the song are known, including “The Lowell Factory Girl”, “The Factory Girl’s Come-All-Ye” from Lewiston, Maine, and generalized versions titled “Factory Girl.”
Location
Currently not on view
date made
1840s
1835 - 1855
ID Number
2013.0125.01
accession number
2013.0125
catalog number
2013.0125.01

Fire Association of Philadelphia Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Fire Association of Philadelphia issued this cast iron fire mark around 1848. The bottom of the mark bears the policy number “12401” painted in gold. The Fire Association’s fire mark consisted of a raised image of an early fire hydrant with hose attached, flanked by the letters F.A. in the center of an oval. The F.A. adopted a fireplug as their symbol to celebrate the contribution of Philadelphia's innovative public water system to their mission of fighting fire. The Fire Association of Philadelphia was an insurance company founded in 1817 by a group of eleven volunteer engine companies and five volunteer hose companies. A percentage of the Fire Association’s insurance company’s profits were distributed to the volunteer companies. The F.A. fire mark was extremely popular, and an estimated 40,000 fire marks were issued during the company’s history.
Location
Currently not on view
date made
1848
maker
unknown
ID Number
2005.0233.0397
accession number
2005.0233
catalog number
2005.0233.0397

Associated Firemen's Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen's Insurance Company of Baltimore, Maryland issued this fire mark in 1848. The cast iron oval mark has a raised central image of a fireman rushing to a fire blowing a trumpet and holding a burning brand. The Associated Firemen's Insurance Company operated from 1847 until 1899, when it was absorbed and reinsured by the Fidelity Fire Insurance Company of Baltimore.
Location
Currently not on view
date made
1848
maker
unknown
ID Number
2005.0233.0486
accession number
2005.0233
catalog number
2005.0233.0486

Philadelphia Contributionship Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Philadelphia Contributionship for the Insurance of Houses from Loss by Fire issued this fire mark around 1847-1848. The fire mark consists of the company’s symbol cast in lead showing four hands clasped at the wrist attached to a shield-shaped wooden backing. The Philadelphia Contributionship was established in 1752 as the first fire insurance company in America, and included Benjamin Franklin as one of its founding members. The Contributionship was a mutual assurance company, represented by its “Hand in Hand” fire mark.
Location
Currently not on view
date made
1847-1848
maker
unknown
ID Number
2005.0233.0379
accession number
2005.0233
catalog number
2005.0233.0379

Chambersburg Insurance Company Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Chambersburg Insurance Company of Chambersburg, Pennsylvania issued this cast iron fire mark sometime between 1833 and 1849. The center of the oval mark has a raised image of a Philadelphia-style hand-pumped fire engine. Above the image is the raised initials “C.F.I. Co.” The mark has been painted green. The Chambersburg Insurance Company operated from 1833 until its dissolution around 1849.
Location
Currently not on view
date made
1833-1849
maker
unknown
ID Number
2005.0233.0553
accession number
2005.0233
catalog number
2005.0233.0553

Sunstone Capital

Members of the Church of Jesus Christ of Latter Day Saints founded the town of Nauvoo, Illinois in 1839 and finished construction of their elaborate temple in 1846.
Description
Members of the Church of Jesus Christ of Latter Day Saints founded the town of Nauvoo, Illinois in 1839 and finished construction of their elaborate temple in 1846. Initially welcomed by the Illinois General Assembly, growing anti-Mormonism and the 1844 murder of leader Joseph Smith drove them to abandon the town less than three years after completing the temple.
This celestial limestone carving was one of thirty that adorned the grand temple at Nauvoo, which was destroyed by a fire (possibly due to arson) in 1848 and tornado-force winds in 1850.
Location
Currently not on view
Date made
1846
associated dates
1844
architect
Weeks, William
associated institution
Church of Jesus Christ of Latter-day Saints
associated person
Smith, Joseph
maker
Weeks, William
ID Number
1989.0453.01b
catalog number
1989.0453.01b
accession number
1989.0453

"The Storming of Chapultepec"

This print depicts American forces attacking the fortress palace of Chapultepec on Sept. 13th, 1847. General Winfield Scott, on a white horse (lower left), led the southern division of the U.S. Army that successfully captured Mexico City during the Mexican American War.
Description
This print depicts American forces attacking the fortress palace of Chapultepec on Sept. 13th, 1847. General Winfield Scott, on a white horse (lower left), led the southern division of the U.S. Army that successfully captured Mexico City during the Mexican American War. The outcome of American victory was the loss of Mexico's northern territories, from California to New Mexico, by the terms set in the Treaty of Guadalupe Hidalgo. It should be noted that the two countries ratified different versions of the same peace treaty, with the United States ultimately eliminating provisions for honoring the land titles of its newly absorbed Mexican citizens. Despite notable opposition to the war from Americans like Abraham Lincoln, John Quincy Adams, and Henry David Thoreau, the Mexican-American War proved hugely popular. The United States' victory boosted American patriotism and the country's belief in Manifest Destiny.
This large chromolithograph was first distributed in 1848 by Nathaniel Currier of Currier and Ives, who served as the "sole agent." The lithographers, Sarony & Major of New York (1846-1857) copied it from a painting by "Walker." While the current location of that painting is unknown, when the print was created, the painting was owned by Captain B. S. Roberts of the Mounted Rifles, as indicated by an inscription below the image.
The original artist has previously been incorrectly attributed to William Aiken Walker as well as Henry A. Walke, as both worked at various times with Currier. The artist of the original painting however is James Walker (1819-1889), who created the "Battle of Chapultepec" 1857-1862 for the U.S. Capitol. This image differs from the painting commissioned for the U. S. Capitol by depicting the troops in regimented battle lines with General Scott in a more prominent position in the foreground. Variant copies of the image from different viewpoints were painted by Walker. James Walker was living in Mexico City at the outbreak of the Mexican War and joined the American forces as an interpreter. Attached to General Worth's staff, he was present at the battles of Contreras, Churubusco, and at Chapultepec was tasked as the artist. Captain Benjamin Stone Roberts, an engineer, was assigned by General Winfield Scott to assist Walker with recreating the details of the battle of Chapultepec. Roberts is depicted in the painting as leading the storming. When the painting was complete, Roberts purchased a copy of the painting for $250.00 (documented in letters and a diary). Captain George T. M. Davis, aide-de-camp to Generals Quitman and Shields also purchased a copy of the painting by Walker, in Mexico City, which was publicized in newspapers and made into a print. By 1848, James Walker had returned to a New York City studio in the same neighborhood as the print's distributor Nathaniel Currier and lithographers Napoleon Sarony and Henry B. Major.
This popular lithograph was one of several published to visually document the war while engaging the imagination of the public. Created prior to photography, these prints were meant to inform the public, while generally eliminating the portrayal of more gory details. Historians have been able to use at least some prints of the Mexican War for study and corroborate with the traditional literary forms of documentation. As an eyewitness, both Walke and Walker could claim accuracy of detail within the narrative. The battle is presented in the grand, historic, heroic style with the brutality of war not portrayed. The print depiction is quite large for a chromo of the period. In creating the chromolithographic interpretation of the painting, Sarony & Major used at least four large stones to produce the print "in colours," making the most of their use of color. They also defined each figure with precision by outlining each in black. This print was considered by expert/collector Harry T. Peters as one of the finest ever produced by Sarony & Major.
Description (Spanish)
Este grabado ilustra a las fuerzas americanas atacando la fortaleza del palacio de Chapultepec el 13 de septiembre de 1847. El General Winfield Scott, representado en la esquina inferior izquierda montando un caballo blanco, condujo la división sureña del ejército estadounidense que tomó con éxito la ciudad de México durante la guerra mexicoamericana. El resultado de la victoria americana se tradujo en la pérdida para México de los territorios al norte del país, desde California hasta Nuevo México. Estos términos quedaron establecidos en el tratado de Guadalupe Hidalgo. Debe observarse que las dos naciones ratificaron diferentes versiones del mismo tratado de paz, con los Estados Unidos eliminando en última instancia cláusulas que reconocían títulos territoriales a los ciudadanos mexicanos recientemente asimilados. A pesar de la notable oposición de los americanos a la guerra, como Abraham Lincoln, John Quincy Adams y Henry David Thoreau, la Guerra Mexicoamericana evidenció ser considerablemente popular. La victoria de los Estados Unidos reforzó el patriotismo americano y la fe del país en el Destino Manifiesto.
Location
Currently not on view
Date made
1848
associated date
1847-09-13
distributor
Currier, Nathaniel
depicted
Scott, Winfield
lithographer
Sarony & Major
artist
Walker, James
ID Number
DL.60.2602
catalog number
60.2602
accession number
228146

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