Work

The tools, rules, and relationships of the workplace illustrate some of the enduring collaborations and conflicts in the everyday life of the nation. The Museum has more than 5,000 traditional American tools, chests, and simple machines for working wood, stone, metal, and leather. Materials on welding, riveting, and iron and steel construction tell a more industrial version of the story. Computers, industrial robots, and other artifacts represent work in the Information Age.

But work is more than just tools. The collections include a factory gate, the motion-study photographs of Frank and Lillian Gilbreth, and more than 3,000 work incentive posters. The rise of the factory system is measured, in part, by time clocks in the collections. More than 9,000 items bring in the story of labor unions, strikes, and demonstrations over trade and economic issues.

The French-born artist Jean Charlot spent his early career during the 1920s in Mexico City. His 1948 lithograph depicts a scene from the domestic life of a Mexican indigenous woman, a favorite theme of the artist.
Description
The French-born artist Jean Charlot spent his early career during the 1920s in Mexico City. His 1948 lithograph depicts a scene from the domestic life of a Mexican indigenous woman, a favorite theme of the artist. Household work—without the aid of most, if any, electrical appliances—was a full-time job for many working-class and poor Mexican women, north and south of the border, well into the 20th century. Food preparation was especially labor-intensive. Corn had to be processed, wood gathered, and water fetched, in the midst of child rearing and other household duties. This was the daily fare of most women, who rarely worked outside the home after marriage. Mexican American women who found work in cities like El Paso in the early 20th century were either single or widowed. Many worked as domestic servants, others in industrial laundries or textile mills. Like today, some women turned to their kitchens to earn a living, making meager profits selling prepared food on the street to Mexican American workers and Mexican migrants.
Description (Spanish)
El artista francés Jean Charlot pasó los años 1920, a comienzos de su carrera, en la ciudad de México. Esta litografía suya de 1948 representa una escena de la vida doméstica de una mujer indígena, un tema favorito del artista. Las tareas domésticas—sin la ayuda de la mayor parte de los aparatos electrodomésticos—constituían un trabajo de todo el día para muchas mujeres pobres de la clase trabajadora de México, al norte y sur de la frontera, hasta bien entrado el siglo XX. La preparación de la comida era especialmente trabajosa. Debía procesarse el maíz, juntarse leña y acarrear el agua, sumados a la crianza de los hijos y otras obligaciones domésticas. Así era la vida diaria para la mayoría de las mujeres, quienes raramente trabajaban fuera del hogar una vez casadas. A principios del siglo XX, las mujeres mexicoamericanas que trabajaban, en ciudades como El Paso, eran solteras o viudas. Muchas se empleaban en el servicio doméstico, otras en lavanderías industriales o fábricas textiles. Al igual que en la actualidad, algunas mujeres convertían su cocina en un medio para ganarse la vida, obteniendo exiguas ganancias a través de la venta de comidas preparadas en la calle para trabajadores mexicoamericanos e inmigrantes mexicanos.
Location
Currently not on view
Date made
1948
graphic artist
Charlot, Jean
ID Number
GA.23377
catalog number
23377
accession number
299563
Currently not on view
Location
Currently not on view
date made
1905 - 1910
copyright date
1906
1907
ID Number
DL.69.0109
catalog number
69.0109
accession number
279951
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 middle of the 19th century. The hat is painted black overall, with the front displaying an oval-framed portrait of a American Indian woman crossing a raging stream underneath a red banner that reads "TORRENT." The back of the hat has the number “2” in white framed by the outline of a white shield. The name of the company refers to a violent rush of water such as firefighters might direct onto a blaze. The Indian maiden pictured on the rocks may be a patriotic symbol. Feminine figures as symbolic icons were a common European trope, and before Lady Liberty became an American symbol the continent was often portrayed as a native princess. While water-related monikers like Torrent were common among volunteer companies, this hat likely belongs to Torrent No. 2 of Rochester, New York.
Location
Currently not on view
date made
1810-1860
associated
Torrent Hose Company, No. 2
maker
unknown
ID Number
2005.0233.0086
catalog number
2005.0233.0086
accession number
2005.0233
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description (Brief)
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 small fire engine panel painting is attributed to the Weccacoe Hose Company of Philadelphia, Pennsylvania. It was formed in 1842 by members of the Weccacoe Fire Company who would not take a temperance pledge. It operated until 1854, when it was disbanded for rioting. In 1856, the City Council refused to admit the company to the newly organized Philadelphia Fire Department, which, although volunteer, was under the administrative and financial control of the city. The small round panel has a painted inscription on the reverse that notes that the company was “disbanded by order of the court for rioting” around 1854. The image may be that of the Wampanoag sachem, Metacomet, who led his people against the English settlers of southern New England in King Phillip’s War (1675-76). The painting is similar to a well-known image of Metacomet engraved by Paul Revere in the 1770s. The Indian leader was the protagonist in a popular 19th century stage play “The Last of the Wampanoags,” portrayed by Philadelphia’s Edwin Forrest, one of America’s most famous actors.
Location
Currently not on view
date made
mid 19th century
artist attribution
Etter, David Rent
ID Number
2005.0233.0322
accession number
2005.0233
catalog number
2005.0233.0322
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 Dutchess County Insurance Company of Poughkeepsie, New York issued this cast iron fire mark in 1814. The circular mark has a nail hanger at the top, a raised profile image of a Native American wearing a headdress, with the raised initials “DFMLC” around the bottom. The Dutchess County Insurance Company operated from 1814 until around 1828. The initials “F M L” refer to the types of insurance written by the company, “Fire, Marine and Life.”
Location
Currently not on view
date made
1814
maker
unknown
ID Number
2005.0233.0551
accession number
2005.0233
catalog number
2005.0233.0551

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