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 dark green overall, and the front bears a painted image of a spread-winged eagle, grasping an olive branch in one talon and three arrows in the other, with a golden harp hanging from a chain in its beak. There is a red banner on top of the image with the text “HIBERNIA” in gold. The image is reminiscent of the bald eagle on the seal of the United States, but the harp as a symbol of Ireland replaces the U.S. shield. The imagery points to the Hibernia Fire Company blending its Irish heritage with American patriotic ideals. The back of the hat has the date “1752” painted in gold. An encircled number one painted in gold is located on the crown of the hat. The Hibernia Fire Engine Company No. 1 was founded in 1752 in Philadelphia, Pennsylvania 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.
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 the text "EAGLE No. 3" in gold with red shading, with gold stars on at each end of the cape. “Eagle” was a common name for American fire companies, which used patriotic names and symbolism to proudly link themselves with the newly established United States of America.
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 Harrisburg, Pennsylvania during the first half of the 19th century. The front of the hat bears an image of a spread-winged eagle grasping an anchor in its talons below a red banner that reads “HOPE FIRE COMP” in yellow. The back of the hat bears a large number “2.” The crown of the hat has an image of a beehive surrounded by the text “HIVERS/E.S.” The nickname “Hivers” likely reflected a common theme among volunteer fire companies – hard communal labor in support of the public good. The front of the hat displays the patriotic imagery of the bald eagle, as well as the anchor representing hope. The Hope Fire Company No. 2 operated in Harrisburg, Pennsylvania from 1814 until 1868.
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, with a painted image on the front of the hat depicting a spread-winged eagle in front of a sunburst gripping a red banner in its talon that reads “EAGLE HOSE COMPANY” painted in gold. The company’s initials “EHC” (Eagle Hose Company) are painted in gold calligraphic script on the back of the hat. The owner’s initials “JW” are encircled by a golden wreath on the crown of the hat. Founded in 1851 and incorporated in 1852, the Eagle Fire Hose Company (Penn District) of Philadelphia, Pennsylvania operated until around 1855. The imagery on this hat is very similar to other fire hats in the collection—2005.0233.0029 and 2005.0233.0030—pointing to a common artist or local artistic style. The bald eagle was adopted by the Continental Congress as the national symbol of the United States in 1782. As a patriotic symbol of liberty and freedom, the eagle was a frequently used icon among early American volunteer fire departments.
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 dark green overall, and the front bears a painted image of a spread-winged eagle, grasping an olive branch in one talon and three arrows in the other, with a golden harp hanging from a chain in its beak. There is a red banner on top of the image with the text “HIBERNIA” in gold. The image is reminiscent of the bald eagle on the seal of the United States, but the harp as a symbol of Ireland replaces the U.S. shield. The imagery points to the Hibernia Fire Company blending its Irish heritage with American patriotic ideals. The back of the hat has the date “1752” painted in gold. The Hibernia Fire Engine Company No. 1 was founded in 1752 in Philadelphia, Pennsylvania 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.
Black and white print; series of vingettes; at center is a small portrait of Zachary Taylor on horseback. This is surrounded by four small battle scenes: Bombardment of Matamoras, Battle of Alto Alto, Capture of Gen. Vega, and Charge of Capt. May. Iconography includes a U.S. shield and an eagle.
This black and white print takes its title from the immortal first line of the Declaration of Independence. It depicts a symbolic lion and eagle confronting each other across a stretch of ground on which is scrawled the date "1776." The lion is surrounded by caricatures of British forces, while the eagle and American Colonists are portrayed as brave, defiant figures. This popular, patriotic print was marketed to the average household and sold for 25 cents.
The graphic artist was Archibald M. Willard, know at the time for his paiting Spirit of 76. The publisher was James Fitzallen Ryder (1826-1904).
Colored print; bust portraits of Franklin Pierce and William R. King. Each portrait is surrounded by an oval laurel leaf cartouche. The Capitol and the President's House appear in views beneath the portraits. American flags, an eagle, and drapery decorate the space above the portraits.
Colored print; bust portrait of Henry Clay encircled by a decorative cartouche. An eagle is perched overhead. American flags and drapery decorate the background.
This color lithograph is a half-length portrait of John Camel Heenan, dressed formally in a three-piece suit and tie. An eagle with a banner in its mouth is depicted beneath the portrait. The banner reads "Champion of America." Beneath it is a declaration of his height (6’ ½”) and his fighting weight (192-195 pounds).
John Camel Heenan (1833/34-1873) was an American bare-knuckle prizefighter, who was born in West Troy, New York, the son of Irish immigrants. At the age of 17, he headed west to the Gold Rush town of Benecia, California, where he worked as a strong man and enforcer in labor and political disputes. His reputation for informal brawling earned him the nickname the “Benecia Boy” and captured the attention of an English trainer named Jim Cusick, who moved with Heenan back to New York. Because fighting was illegal in the United States at that time, Heenan participated in his first national heavyweight bout in Canada in 1858. He lost the match to reigning champion John Morrissey in what some claimed to be an unfair fight because of crowd interference. After Morrissey retired from the ring, Heenan became national champion by default. He fought his second match—this time against Tom Sayers in 1860—in a field in Farnborough, Hampshire, England. Bare knuckle fighting was also illegal in England, and the confrontation attracted widespread public attention. It quickly turned brutal and chaotic, and ended in a draw after five rounds when the police threatened to intervene.
The match has been described as the first world title fight, and it led to the establishment of a boxing code of conduct that included three-minute rounds, mandatory gloves, and ten-second counts after knockdowns. Heenan lost his third and final world title match, also in England, to a fighter named Tom King in 1863. Again, there were charges that the fight had been unfair, this time because of biased calls by the referee. Heenan also later claimed he’d been drugged. He devoted his final years to the gambling business. He died at the age of 38 after contracting tuberculosis in what was then the Wyoming territory. Heavy press coverage turned Heenan into a superstar, celebrated not only in prints, but in advertisements, poems, ballads, and theatrical productions.
This lithograph was produced by the lithographic firm of E. B. & E. C Kellogg and published and sold by George Whiting. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
This print was published by George Whiting, who worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
Black and white print of the lavishly decorated “Gem Saloon,” known for containing the city's largest mirror. The top of the mirror features a large eagle. The “Gem Saloon” was located in a hotel on the corner of Broadway and Anthony (now Worth Street) in New York City. Mayor Fernando Wood and eleven male politicians and businessmen are depicted drinking and conversing along with two bartenders and a dog. The title refers to the debate that was raging over the regulation of alcohol and a temperance movement that was launched in 1850 by the mayor of Portland, Maine in 1850. The Maine state bill forbid all alcoholic purchases except for "medicinal, mechanical or manufacturing purposes", resulting in an increase of alcoholic “quackery” medicines. Several other cities and states followed Maine’s example in legislation. In New York liquor law was passed in 1854 but vetoed by Governor Horatio Seymour. Then in 1855, with a new administration, the "Maine Law" was passed in New York, though it was never strictly enforced.
Augustus Fay was an engraver, lithographer and illustrator born in New York in 1824. He was active as an engraver in New York City 1848-1860, and as a lithographer in Hoboken, New Jersey and in New York in the 1850s.
In 1864, Lincoln appointed Ulysses S. Grant to lead all Union armies, and reinvigorated under the General’s leadership and policy of total war, the Union armies launched numerous offensives against the Confederate armies in all of the war’s theaters. This print published that same year by J.H. Bufford provides a detailed allegory of the United States at war. The female personification of Liberty sits on a throne of clouds below the words “E Pluribus Unum” and an arc of 13 stars. She wears a Phrygian cap, and wields a sword, shield, and American flag. Below her, an eagle perches atop a shield decorated with stars and stripes, grasping arrows and an olive branch in its talons. To the left, a Native American warrior stands armed with a bow and tomahawk, extending his right hand. On the right, a sailor gripping an anchor gazes up at the figure of Liberty. At their feet lie cannons, rifles, swords, and other instruments of war. Below this symbolic arrangement, one can make out the U.S. Capitol, the Potomac River, and a camp of Union soldiers through the clouds.
This print was published by the lithographer John H. Bufford. The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he developed a reputation for printing and publishing popular prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
The artist of this work, Joseph E. Baker (1837-1914), began as an apprentice at J. H. Bufford & Co. in 1857. He eventually became James Bufford’s principal draftsman and illustrator of sheet music. He worked in NYC in 1860-1867 and specialized in portrait prints. During the Civil War he produced political cartoons and lithographs for Bufford. He later worked for Armstrong & Company, remaining active until 1888.
This 1861 hand-colored political print by E.B. and E.C. Kellogg is one of a series of nine Civil War cartoons published by the Kellogg family that feature animals. It is filled with recognizable anti-secession symbolism and would have been posted at places of work or distributed in taverns. The print‘s subtitle, “The Union, it must and shall be preserved,” comes from an April 13, 1830 dinner toast by Andrew Jackson, in which he responded to tensions within his administration concerning states’ rights and the nullification movement.
In the illustration, an eagle sits on a nest made from a twisted American flag and holds a banner in its beak calling for “Annihilation to Traitors.” Each egg in the nest symbolizes one of the 34 states. While the Northern eggs are unblemished and clean, various predatory animals emerge from the cracked, rotten eggs representing the Southern states. Each is labeled with the names of outspoken state representatives. These include:
•An alligator from the Alabama egg labeled “Yancy” refers to Representative and radical “Fire-Eater” secessionist William Lowndes Yancy (1814-1863).
•A cow from the Arkansas egg labeled “Sebastian” refers to Senator and Confederate supporter William King Sebastian (1812-1865).
•A dog from the Florida egg is labeled “Mallory” and refers to Senator and Confederate Secretary of the Navy Stephen Russell Mallory (1812-1873).
•A donkey or ass from the Georgia egg, labeled “Toombs,” refers to Senator and early Confederate Treasurer Robert Augustus Toombs (1810-1885).
•The Louisiana egg, labeled “Beauregard,” refers to General Pierre Gustave Toutant Beauregard (1818-1893).
•A donkey or ass for North Carolina labeled “Branch” refers to Representative and later Confederate Lawrence O’Bryan Branch (1820-1862).
•A rattlesnake, labeled “Pickens,” is held in the left talon of the eagle after slithering from the South Carolina egg. This refers to secessionist Governor Francis William Pickens (1805-1869).
•The Mississippi egg features a bear labeled “Jeff Davis.” He is grasped in the right talon of the eagle and is waving a flag containing three stripes and a circle of stars on a blue field. Beside him are papers labeled "Reputed/Bonds."
•A rat represents Texas and is labeled “Houston” for Sam Houston.
•A bear in the Virginia egg guards a group of African Americans. The animal is labeled “Lecher,” referring to Governor John Letcher (1813-1884).
Ironically, both John Letcher (Virginia) and Sam Houston (Texas) did not support their states’ secessions, although Letcher eventually cooperated with Confederates after the state's General Assembly voted to secede. Sam Houston, however, refused to take the oath of loyalty to the Confederacy and chose instead to resign from office. There are also three eggs representing the Border States – slave states that chose not to secede from the Union during the Civil War. Although these eggs have not yet hatched, they are beginning to crack. These are Kentucky, which is labeled "Addled,” Tennessee which is labeled "Rotten," and Maryland which is labeled "Bad Egg."
This piece was designed by the Hartford, Connecticut lithographic firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
The print was published by George Whiting, who worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
Black and white print of Uncle Sam greeting a young man who has just stepped from a carriage. Another man sits in the carriage which is drawn by an eagle and a lion. In the background is a doorway with a sign reading, "Centennial Inn, Uncle Sam, proprietor," and a crowd of foreign visitors in their national dress awaiting entry.
Colored print of a branch of a tree and sub-branches representing the rights of people. There are references to a constitution, a king, nobility in England, and an eagle which symbolizes the protection of absolute rights.
This hand-colored print commemorates the October 19, 1847, parade celebrating the placing of the cornerstone for New York City‘s Washington Monument on Hamilton Square (between Third and Fifth Avenues and Sixty-Sixth and Sixty-Ninth Streets). For lack of funds, the monument was never completed.
The print successfully illustrates the patriotism displayed by the nation during the Mexican War. It depicts a golden eagle perched atop the canopied wagon containing a bust of George Washington. Countless American flags wave above the procession of soldiers and civilians. This print was published in newspapers and was also probably used in fundraising brochures for the monument until the project was abandoned.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular. In his later years Baillie concentrated on painting instead of lithography. The graphic artist was John L. Magee who was active 1844 to 1867 in New York City and did some for Currier. He was also a lithographer and moved to Philadelphia where he was active 1850 to 1870.
Portraits of the first twelve presidents of the United States are depicted in individual ovals. Zachary Taylor was president when the print was published, so his portrait is placed in the center. His image is surrounded by four American flags, a shield, laurel leaves, and an eagle directly above. In the background, at left and right, are two Corinthian columns. Liberty stands atop the right column, and Victory, atop the left.
Prints and book illustrations depicting bust portraits of American presidents were fairly common in the first half of the 19th century, and many similar prints were produced a year earlier for the presidential campaign to adorn public buildings and schools, and serve as handouts campaign handouts.
This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg, whose principals were members of a prominent family of publishers based in Hartford, Connecticut. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s lithography firm.
Color print; oval half length portrait of a man in military uniform (General Winfield Scott). The portrait is surrounded by a frame with an eagle on top. Four battle scenes surround the portrait.
Color print; full length portrait of a man in full armor, a crown and a cape (Irish king Brian Boroihme). The figure is holding a septre and a shield decorated with three lions. On the left are symbols: a harp, dog, eagle and a green flag topped with a liberty cap.