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 came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company 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 “Franklin at Desk” is attributed to David Rent Etter and dates to around 1830. The painting depicts Benjamin Franklin’s dictating his memoirs to his grandson. 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 piece (object 2005.0233.0018) would have adorned either side of the company’s engine.
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.
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 organized December 11, 1848 and disbanded on September 18, 1865 when it became Engine 15 in the paid Metropolitan Fire Department of New York. John Archibald Woodside Sr. painted The Birth of Venus around 1849. The painting depicts Venus arising from the waves, an image common among neoclassical paintings. 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 idealized nude female form that would make their beloved engine especially eye-catching during parades. This painting and its companion (2005.0233.0303) adorned the company’s 1842 John Agnew hand-pumped 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 came from the Lexington Fire Engine Company No. 7 of New York City. 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. The painting is the artist’s interpretation of the skirmish between the American militia and British troops on April 19, 1775 on the Lexington Green. This military engagement is characterized as the first battle of the Revolutionary War. The Lexington Fire Company used this painting to link their company to the patriotic deeds of their predecessors. This painting and its companion piece (object 2005.0233.0301) would have adorned the sides 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 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.
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.
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 Angel Holding Trumpet panel painting was made by an unknown artist in the late 19th century. The character could possibly be a personification of Fame, celebrating the triumphing of the fire company.
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.
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.
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.
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.
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.
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.
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 came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company 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 “Franklin with Loaf of Bread” is attributed to David Rent Etter and dates to around 1830. The painting depicts the young Benjamin Franklin’s arrival in Philadelphia in 1723. As recounted in his autobiography, he mistakenly bought more bread than he could eat and gave the extra loaves to a poor woman and child. 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 Revolution and securing America’s freedom. This painting and its companion piece (object 2005.0233.0307) 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 came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company 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 “Franklin at Desk” is attributed to David Rent Etter and dates to around 1830. The painting depicts Benjamin Franklin’s dictating his memoirs to his grandson. 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 piece (object 2005.0233.0018) would have adorned either side of the company’s engine.