Cultures & Communities

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.

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
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
1841-01-26
recipient
Copp, Jr., Samuel
ID Number
DL.006873.091
catalog number
6873.091
accession number
28810
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 Weccacoe Fire Engine Company No.19 of Philadelphia, Pennsylvania commissioned this panel from John Woodside around 1840. The Weccacoe Fire Company was organized in 1800 as a hand engine company. It acquired a steam fire engine in 1859, which was replaced in 1864. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. This painting of the “Mermaid and Her Lover,” is likely a representation of the tale of Clytia the water nymph and her love for the god Apollo. Fire companies used neoclassical imagery to link their companies to the ancient ideals that the paintings depicted, in this case eternal love and loyalty. The use of neoclassical images also allowed artists to paint an idealized nude female form that would make their beloved engine especially eye-catching during parades.
Location
Currently not on view
date made
ca 1840
maker
Woodside, John Archibald
ID Number
2005.0233.0308
accession number
2005.0233
catalog number
2005.0233.0308
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
1841-07-10
recipient
Copp, Jr., Samuel
ID Number
DL.006873.092
catalog number
6873.092
accession number
28810
This fall evening event held by the young lady workers of Amoskeag Mill number 3 may have marked the need to use artificial light in the mills during the winter as the days got shorter.
Description
This fall evening event held by the young lady workers of Amoskeag Mill number 3 may have marked the need to use artificial light in the mills during the winter as the days got shorter. The artificial lighting elongated the workday, increasing owner profitability, but open flames created more dangerous conditions for workers.
date made
1848
ID Number
1995.0001.02
accession number
1995.0001
catalog number
1995.0001.02
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
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 engine panel painting came from the Lexington Fire Engine Company No. 7 of New York, New York. The volunteer company was active from December 26, 1849 until September 18, 1865. The painting was signed by artist M. Betsch, and was completed around 1849. This painting depicts a rider (either Paul Revere or William Dawes) bringing news of the skirmish between the American militia and British troops at Lexington. The flag of the United States and the Gadsden (Don’t Tread on Me) flag frame the painting’s title at the bottom. The Lexington Fire Company used this painting to link their company to the patriotic deeds of their predecessors in the Revolutionary War. This painting and its companion piece (object 2005.0233.0302) would have adorned the sides of the company’s engines.
Location
Currently not on view
date made
ca 1849
maker
Betsch, M.
ID Number
2005.0233.0301
accession number
2005.0233
catalog number
2005.0233.0301
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
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
Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.Currently not on view
Description (Brief)
Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.
Location
Currently not on view
Date made
1847
1839
maker
Endicott, George
original artist
Smith, Joseph B.
ID Number
DL.60.3747
catalog number
60.3747
This lithograph illustrates the chaos and conflict engulfing northern Mexico during the years of the Mexican-American War from 1846-1848.
Description
This lithograph illustrates the chaos and conflict engulfing northern Mexico during the years of the Mexican-American War from 1846-1848. In these years the United States organized an Army of Occupation, initially led by General Zachary Taylor, to capture cities like Monterrey in preparation for a later assault on the Mexican heartland. The figure on horseback is a Mexican guerilla fighter. These skilled horsemen, often doubling as both patriots and bandits, had an established role in Mexican military tradition, and were actively recruited to combat the U.S. invaders. To understand his limited appeal to the Mexican public, note that the dead figures over whom the guerrillero is triumphantly galloping appear to be Mexican citizens, not invading American soldiers.
The lithographer is unknown.
Description (Spanish)
Esta litografía ilustra el caos y el conflicto que abrumaron al norte de México durante los años de la guerra mexicoamericana entre 1846 y 1848. En este período Estados Unidos organizó un Ejército de Ocupación, inicialmente comandado por el General Zachary Taylor, a fin de capturar ciudades como Monterrey, en preparación para la posterior ofensa al corazón de México. La figura a caballo es la de un guerrillero mexicano. Estos hábiles jinetes, que a menudo actuaban tanto de patriotas como de bandidos, tenían una función establecida dentro de la tradición militar mexicana y se los reclutaba activamente para combatir a los invasores estadounidenses. A fin de comprender el poco atractivo que estas figuras despertaban entre el público mexicano, obsérvese que los muertos sobre los que galopa triunfante el guerrillero parecen ser ciudadanos mexicanos y no soldados americanos invasores.
Location
Currently not on view
Date made
ca 1848
maker
unknown
ID Number
DL.60.2559
catalog number
60.2559
accession number
228146
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
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
1989.0453.01a
catalog number
1989.0453.01a
accession number
1989.0453
This logbook chronicles six months of a whaling voyage to the Pacific whaling grounds by the bark Virginia of New Bedford, Mass. The voyage began in late August 1840.Most official ship logbooks record wind, weather, and sail changes, directions and ports reached and cleared.
Description
This logbook chronicles six months of a whaling voyage to the Pacific whaling grounds by the bark Virginia of New Bedford, Mass. The voyage began in late August 1840.
Most official ship logbooks record wind, weather, and sail changes, directions and ports reached and cleared. This one was filled with extra details and a few drawings by its keeper, Thomas M. Peakes. On 16 December 1840, two whales were caught and processed. The figures inside the whale stamps for those events show the number of barrels of oil taken from each whale. The last word, “Amanda,” reveals the writer’s homesickness. Her name appears often, as do the words “home sweet home.”
On 31 January 1841, crewman Henry N. North fell overboard and almost perished before being rescued. Towards the end of March 1841, log keeper Peakes was injured himself and had to go ashore at Talcahuano, Chile. Virginia’s ship’s log ended here, after noting that a kindly local widow took Peakes into her home to help him regain his health. After a three-week recovery, Peakes shipped out for home on the whaler Montano.
date made
1840
ID Number
AG.056866
catalog number
56866
accession number
2009.0183
12306
In 1846 nearly 100 friends and family members contributed signed blocks for an album quilt for Merinda Shedd Wright of Washington, N. H.
Description
In 1846 nearly 100 friends and family members contributed signed blocks for an album quilt for Merinda Shedd Wright of Washington, N. H. Possibly made before she moved West, the inscriptions include the towns of Washington, Peterborough, Stoddard, and Goshen in New Hampshire, as well as Lowell and Cambridge Port in Massachusetts.
The signers were the wives or daughters of farmers, marble cutters, mechanics, laborers, shoemakers, doctors, clergy, merchants, and others who populated the New England area in the mid-19th century. A few worked in the Lowell, Mass., mills. They ranged in age from two to the eighties, often mother and daughter combinations.
Ninety-six pieced 8-inch “Nine-patch” signed blocks are set diagonally with 32 half blocks around the entire border. All are signed, and except for one stamped inscription, all are inscribed in ink. Three blocks are dated 1846. The blocks are separated and bordered with printed cotton sashing. The lower corners of the quilt are cut away to accommodate bedposts.
Merinda Shedd, born May 1811, was the daughter of John Shedd (about 1784-1828) and Lydia Farnsworth (1785-1860). Merinda married Zophar Wright (1805-1880). The couple had seven children. It seems Merinda went West, but no further information about her was discovered. Zophar was listed as living in New Hampshire on the 1850 census (pauper) and 1860 census (basket maker). He remarried in 1877 and again in 1879.
Sarah Shedd (1813-1867), sister of Merinda Shedd, penned the following on the quilt: “Oh! A Sister’s heart is deep - And her spirit strong to keep - Each light-link of early hours.” The lines are from a poem, “The Shepherd-poet of the Alps,” by English poet, Felicia Hemans (1793-1835). Sarah was 15 when, after her father died, she found work in the textile mills of Maine and Massachusetts to help support her mother and educate her brother.
In addition to working in the mills, she became a poet and educator. She wrote for the Lowell Offering , and a book of her poetry, Poems of Sarah Shedd, Founder of the Shedd Free Library was published in 1883.
Educated, independent, and able to pursue her own interests after her mother’s death, she aspired to found a public library for her hometown of Washington, N. H. Her entire estate, $2,500 (over $400,000 today), was left to the Town to establish a library which opened in 1869 as the Shedd Free Library and contained many of her own books. In 1881 a permanent building was dedicated that is still a functioning library, having grown from the original 292 books to over 9000.
Her sister's quilt descended in the Nathan Reed Wright family, but they were not related to Zophar and Merinda Wright. Jane Wright, adopted daughter of Nathan, did sign the quilt, apparently as a friend of Merinda.
Location
Currently not on view
date made
1846
maker
unknown
ID Number
TE.T15195
catalog number
T15195
accession number
290274
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
The large center block of this album quilt is inscribed in ink: “Hester Willard To her Sister Mary Norriston April 12 1842.” Hester’s sister would have been Mary H. (?) Taylor.
Description
The large center block of this album quilt is inscribed in ink: “Hester Willard To her Sister Mary Norriston April 12 1842.” Hester’s sister would have been Mary H. (?) Taylor. Almost all of the other 68 pieced and appliquéd blocks contain an inked or stamped signature, and many are dated between 1841 and 1844. Additionally many are inscribed with verse from hymns or period literature expressing parting and remembrance. The signatures on the quilt blocks are those of relatives, neighbors, and friends. They lived either in Lower Dublin in Philadelphia County or in the city of Philadelphia, except for Mary’s sisters, Hester Willard and Emily Taylor, who lived in Norristown, Pa, a suburb of Philadelphia.
All of the 68 pieced and appliquéd blocks are different, creating the sampler effect. Both traditional motifs and delightful original designs are represented. These are arrayed around a 17 x 18 1/4-inch center square. An unfinished quilt top, evidence indicates that it was reassembled at some time. Four blocks have been enlarged with fabrics that appear to be of a later date (1875-1900). The fabrics are mainly roller-printed dress fabrics with some furnishing chintzes, there are no plain-colored cottons.
Mary was probably the daughter of Thomas and Susan Wright Taylor. Neither Thomas nor Susan is listed in the 1850 Census. Earlier, Susan is listed as head of household in the 1830 and 1840 Census for Lower Dublin, Philadelphia, Pa. Many of the Wright family members are buried in the cemetery at the Pennyback Baptist Church which was first named the Lower Dublin Baptist Church. It was the first Baptist Church in Philadelphia. We know no further information about Mary Taylor ---whether she had married, gone west, or died.
Location
Currently not on view
date made
1841-1844
maker
unknown
ID Number
TE.T14870
catalog number
T14870
accession number
282796
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
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
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
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
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 Mutual Insurance Company of Washington County of Hagerstown, Maryland issued this fire mark around 1847. There is a raised image of two clasped hands in the center of the mark, with upper text that reads “M.I.CO O.W.C.” and a lower text that reads “A.D. 1846.” The Mutual Insurance Company of Washington County operated from 1846 until 1935 in Hagerstown, Maryland.
Location
Currently not on view
date made
1847
maker
unknown
ID Number
2005.0233.0485
accession number
2005.0233
catalog number
2005.0233.0485
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
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

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