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 is attributed to the Washington Fire Company No.14 of Philadelphia, Pennsylvania that was founded in 1796. Originally organized as a hand engine company, it acquired a steam fire engine in 1858 and operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. John A. Woodside completed this oil painting in 1853, copying it from “George Washington Before the Battle of Trenton,” painted by John Trumbull in 1792. The painting depicts Washington surveying the battleground, with Continental troops in the background. The volunteer fire company named itself after Washington and commissioned the painting to link itself with Washington’s prestige America’s foremost Founding Father.
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 Neptune Hose Company of Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted brown overall, with painted golden text on the front that reads “NEPTUNE / HOSE.” The back of the hat has the date “1805” painted in gold, and the owner’s initials “J.D.C.” in gold on the crown of the hat. The Neptune Hose Company was founded on August 6th, 1805 in Philadelphia, Pennsylvania and operated until 1871 when Philadelphia’s paid firefighting department was established.
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 middle of the 19th century. It was originally painted blue, and then varnished, and the varnish has turned hat color dark green. There is a faded red banner on front with illegible gold lettering. There are two fragments of newspaper attached to inside of the hat, dated Aug. 1, 1839 and Aug. 1, 1833. On the top of the hat the initials “L.G.” are painted in gold. The hat was made by James Hill, a Philadelphia hatter, around 1860.
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 panel painting belonged to the Americus Company No. 6 of New York, New York which operated from 1848 to 1865. The panel is unsigned, but it is attributed to Joseph Hoffman Johnson, a founding member of the Americus Company and artist who painted the company’s famous “Big Six” engine. This tiger was the Americus Company’s mascot. William Marcy “Boss” Tweed was elected foreman of the Americus Company, and his influence and connections in New York led to his position of power in Tammany Hall and control over New York’s political system. The Americus Company’s use of the tiger as a mascot eventually led to its use as a symbol for Tweed’s Tammany Hall. The panel’s design is notable for the absence of patriotic or neoclassical imagery so prevalent in engine panel paintings. This painting and its companion (2005.0233.0316) would have adorned either side of the company’s engine.
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 leather hat dates to the first half of the 19th century. The hat is painted blue overall, with a metal band along the brim, and the text “GOOD WILL” painted in gold on the front of the hat. The crown of the hat bears the owner’s initials “C.B.” in gold. The hat is the deviation in style from the traditional Philadelphia-style “stove-pipe” top hat. Though the name was a common one, a label in the hat indicates it was from the Good Will Fire Company, which was founded on March 27, 1802 in Philadelphia, Pennsylvania.
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 painting belonged to the Eagle Fire Engine Company No. 13 of New York, New York that was active from 1783 until 1865. The oil painting was created by an unknown artist around 1863. The image consists of an eagle perched on a globe, with an American flag and Phrygian cap on the flagpole. The cap is also known as a liberty cap, a symbol of freedom from tyranny. The fire company named itself after the eagle, the national bird of the United States. The imagery of the eagle connotes patriotism as well as the eagle’s history as a symbol of strength and immortality. This painting and its companion (2005.0233.0311) would have adorned either side of the company’s engine.
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 likely belonged to the Globe Engine Company No. 30 of Kensington, Philadelphia, which was founded in 1820. Originally organized as a hand engine company, it acquired a steam fire engine in 1863 and operated as the Globe Steam Fire Engine Company of Kensington until 1871 when Philadelphia’s paid firefighting department was established. The painting is attributed to John S. Brewer and dated to around 1834.The painting depicts two firemen rescuing a distressed woman from a house fire. The firemen are wearing their fire hats and capes, and one is carrying a speaking trumpet used to amplify his instructions to the company. The painting was meant to emphasize the firemen’s masculinity and heroism. This painting and its companion piece (object 2005.0233.0313) would have adorned either side of the company’s engine.
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 brown overall with golden bands around the top and base. The front of the hat has the golden painted text that reads “KENSINGTON/1791.” There is an encircled number “1” on the back of the hat in gold paint. The crown of the hat bears the owner’s initials “J.F.” painted in gold. The Kensington Fire Company was founded in August of 1791 to serve the Kensington neighborhood of Philadelphia, Pennsylvania. The company operated until 1855, when it refused to join the newly organized Philadelphia Fire Department, which, although volunteer, was under the administrative and financial control of the city.
This is a bas-relief carving of a hose wagon was painted red and mounted onto a wooden panel. Dated to around 1890-1900, the panel was most likely made for decoration and not used on a fire engine. The A.F.D. painted on the hose wagon possibly refers to the Albany Fire Department of New York.
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. It is painted black overall, with golden decorative scrolls surrounding the text “GOOD INTENT” painted in gold over a golden sunburst. The back of the hat has the initials “F.A” painted in gold. The initials stand for the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. The owner’s initials “W.H.F.” are painted in gold on the crown. The Good Intent Fire Company was formed in 1819 in Philadelphia, Pennsylvania and operated as a hand engine company until 1871 when Philadelphia’s paid firefighting department was established.
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 Lancaster, Pennsylvania during the first half of the 19th century. The hat is painted black overall, with the text “FRIENDSHIP/HOSE” painted in gold across the front. The date “1763” is painted in gold on the back of the hat, and the owner’s initials “L.S.” are painted in gold on the crown of the hat. The Friendship Hose Company in Lancaster, Pennsylvania was founded in 1763.
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 was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted black overall, with a central painting of the coat of arms of Pennsylvania. Within the central shield are images of a ship, plow, and three sheaves of wheat, representing commerce, labor, and the importance of agriculture respectively. The shield is flanked by two rearing white horses. A spread-wing eagle stands on top of the shield and beneath the shield is a red banner with gold trim bearing the text “VIRTUE LIBERTY INDEPENDENCE” in gold. The back of the hat has the text “PENNSYLVANIA” arching over the owner’s initials “J.L.” in gold paint. The Pennsylvania Fire Company was established in Philadelphia in 1806 and in 1839 withdrew from active service in protest of the rioting amongst the fire companies.
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 middle of the 19th century. The hat is painted dark red overall, with a circular portrait at the front of General Zachary Taylor, a hero of the Mexican-American War and later the twelfth President of the United States. The portrait is framed by a golden banner that reads “TAYLOR/HOSE Co.” in gold paint. The back of the hat has the company’s initials “T.H” painted in gold. The General Taylor Hose Company No. 35 of Philadelphia, also known as Taylor Hose Company, was founded on May 1, 1847, the year before Taylor was elected president. In 1864, the name was changed to General Taylor Steam Forcing Hose Company and operated until 1871 when Philadelphia’s paid firefighting department was established. The company’s motto—"Soldiers in War, Firemen in Peace"—suggests that some of the founding members were military veterans.
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 dates to the first half of the 19th century. The hat is painted brown overall, with an image of a spread-winged bald eagle similar to the one depicted on the Great Seal of the United States. In the bird's right claw is an olive branch and in its left are a group of thirteen arrows, and the shield of the United States is on its chest. A red banner above the eagle reads “MARION.” The back of the hat has the date “1833” painted in gold. The crown of the hat has the owner’s initials “J.H.H.” painted in gold. The Marion Hose Company No. 23 was founded in Philadelphia, Pennsylvania on August 19, 1833, and operated until 1871 when Philadelphia’s paid firefighting department was established.
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 is painted blue with gold trim and lettering that reads “COLUMBIA / 1763.” Early American fire companies often linked themselves with patriotic names or symbols. Linked to the goddess of Liberty, Columbia was popularized as the female personification of the United States in the late 18th century, as the country began to agitate for its independence. Actually founded in 1765, Columbia Fire Engine Company began as the Fellowship Engine Company (Lower Ward) in the Germantown area of Philadelphia. The company took the name Columbia around 1809. Incorporated in 1833 as the Columbia Fire Engine and Hose Company of Germantown, it operated as a hand engine company until 1871 when Philadelphia’s paid firefighting department was established.
We Lend a Helping Hand was the motto of the Americus No.6 Company, which operated in New York, New York from 1848-1865. In addition to their motto, the Americus Company was also often represented by a tiger, or simply by its number, 6. The panel bears all of these representations, wreathed by golden garlands, but leaves out elaborate patriotic imagery or suggestive classical forms. We Lend a Helping Hand represents a more simply designed panel that plainly represented the fire company.
This panel painting belonged to the Americus Company No. 6 of New York, New York which operated from 1848 to 1865. The panel is unsigned, but is attributed to Joseph Hoffman Johnson, a founding member of the Americus Company and artist who painted the company’s famous “Big Six” engine. We Lend a Helping Hand was the motto of the Americus Company, and the painting also bears the company’s number (6) and mascot (Tiger). The panel’s design is notable for the absence of patriotic or neoclassical imagery so prevalent in engine panel paintings. This painting and its companion (2005.0233.0317) would have adorned either side of the company’s engine.
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 likely belonged to the Globe Engine Company No. 30 of Kensington, Philadelphia, which was founded in 1820. Originally organized as a hand engine company, it acquired a steam fire engine in 1863 and operated as the Globe Steam Fire Engine Company of Kensington until 1871 when Philadelphia’s paid firefighting department was established. The painting is attributed to John S. Brewer and dated to around 1834. The painting depicts the mythical figure of Fame, who would repeat what she heard, first in a whisper but growing louder and louder until all of heaven and earth could hear what she said. Here, Fame is extolling the virtues and bravery of the Globe Engine Company. This painting and its companion piece (object 2005.0233.0312) would have adorned either side of the company’s engine.
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 painting belonged to the Eagle Fire Engine Company No. 13 of New York, New York that was active from 1783 to 1865. The oil painting was created by an unknown artist around 1863. The painting is a full-length portrait of Chief Engineer Harry Howard. Howard is holding a speaking trumpet and resting his hand on a table that bears his work helmet. Upon his death in 1896, Howard was the last surviving Chief Engineer of the Volunteer Fire Department of New York City. A great supporter for the paid Metropolitan Fire Department established in 1865, Howard advocated for pay raises for firemen, the establishment of a firefighter’s retirement home, and gave $1,000 to the exempt firemen’s burial fund. This painting and its companion (2005.0233.0310) would have adorned either side of the company’s engine.
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 of Benjamin Franklin is attributed to the Franklin Engine Company No.12 from Philadelphia that was active from 1792 until 1863 when it acquired a steam fire engine. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The painting was completed around 1830 by an unknown artist. The painting depicts the popular story of Franklin’s kite experiment where he attempted to prove that lightning was an electrical force. Benjamin Franklin was well known for organizing the first volunteer fire company in Philadelphia, and his image and his name were popular among the city’s fire companies. By invoking Franklin, volunteer firemen linked themselves to the progenitor of their trade, as well as someone who played a key role in the American Revolution. This painting and its companion (2005.0233.0305) would have adorned either side of the company’s engine.
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 is painted maroon with gold trim. The center of the cape has gold letters that read “America Hose” with a golden “A” (for America) on each shoulder. America was a common name among fire companies, making it difficult to determine which company this cape, painted burgundy with yellow lettering, belonged. Companies often chose monikers such as America, Eagle, Columbia, Washington, and United States to link their company with patriotic values of a still young republic. Hose companies began to form the first decades of the 19th century, with the creation of municipal water systems and developments in hose design that made the equipment more functional and essential in fighting fires in larger cities. Hose companies were responsible for maintaining the leather hoses, transporting and working them at fires. The hose allowed firemen to quickly bring water to a blaze from a distance, as well as the ability to put more water directly on the conflagration.