This bucket, which belonged to Jonas White, is dated 1803 and is painted with the image of a sun. This design is known in heraldry as “the sun in his splendour”: it consists of a disc, drawn as a gentle, smiling face, surrounded by a series of alternate straight and wavy rays. The sun may symbolize a variety of things, such as enlightenment, knowledge, prosperity, greatness and eternal glory, or rebirth and regeneration. The name “Sun Fire Company” was fairly common in nineteenth-century America, as volunteer firefighters wanted to clothe themselves in symbols that would appeal to their neighbors and supporters, and they were eager to appropriate the qualities typically associated with the sun. Jonas White may have belonged to a Sun Fire Company, or he may have chosen the sun as a decorative symbol for his bucket simply because of its associations or because it was featured on his family crest.
Note: Regarding whether or not Jonas White was a member of a Sun Fire Company: There were Sun Fire Companies in both Philadelphia and Lancaster, PA, but there is no Jonas White listed in the 1800 Pennsylvania census (though he of course could have moved to Pennsylvania between 1800 and 1803). There was a Sun Fire Company in Alexandra, VA, but once again, there is no Jonas White listed in the 1808 Alexandria census (though he could have left Alexandria between 1803 and 1808). There was a Sun Fire Company in Baltimore, MD, but there is no Jonas White listed in either the 1803 or 1810 city directories for Baltimore.
This bucket belonged to Samuel Kennedy, Jr., who lived in Salem, Massachusetts in the mid-nineteenth century. He was listed as a “captain” in the 1850 Salem city directory. Kennedy was most likely a member of the Naumkeag Fire Club, the fourteenth fire club formed in Salem. It was chartered in August 1832. In 1837, the town of Salem also received a Hunneman engine, which was named the Naumkeag #5. (Hunneman engines were named for their maker, William Hunneman, whose company manufactured some 750 engines between 1792 and 1883. ) The volunteer firefighters of Salem most likely chose to name a company and an engine “Naumkeag” because this was the town’s original Indian name. Salem was founded at the mouth of the Naumkeag River in 1626, and the “Christian name” of Salem was given to the town in the first half of the seventeenth century. Companies frequently chose names that had local significance and that would identify them as belonging to and serving a particular neighborhood or town. In Salem, calling a fire club “Naumkeag” connected the organization to the town’s long history, as well with the geography of the region, and thus helped to integrate the club into the community.
In 1857, Nathaniel Currier and James Merritt Ives became business partners and set out to produce popular, affordable decorative prints for American consumers. In the 1880s, Currier & Ives produced the "Darktown Comics" series of color lithographs, which would become one of their best-selling lines. Each of these depicted African Americans as racist caricatures and ugly stereotypes, and presented scenes where the humor, such as it was, derived from their buffoonish antics and "putting on airs.” These color lithographs were primarily created by John Cameron (1828-1906) and Thomas Worth (1834-1917), two artists employed by Currier & Ives. They drew on a broad visual vocabulary of anti-black racist tropes that had developed over the 19th century, derogatory signifiers that would have been understood and shared by their popular audience, who created a demand for similar imagery in numerous other commercial and decorative objects of the time. Cameron and Worth often set hapless black figures in traditionally white roles, such as firefighting, and the ridiculous failures they depicted helped to reinforce entrenched racial and social hierarchies, as well as to perpetuate the notions of heroism and leadership as white male prerogatives in the period after Reconstruction. When Currier & Ives shut down operations in 1907, New York City printer Joseph Koehler purchased the lithographic stones of the "Darktown Comics" series from the firm and produced restrikes under his own name for several more years.
This color lithograph – “All on Their Mettle” – depicts a fire engine company (blue uniforms), a hose company (yellow uniforms), and a ladder company (red uniforms) rushing to a fire, all about to collide on a narrow bridge. Their respective officers urge them on through speaking trumpets, each intent on being first on the scene. It is paired with a second scene entitled “Slightly Demoralized.” This version is a restrike produced by Joseph Koehler after 1907.
This bucket, painted with the image of a sunburst and an eagle, belonged to George P. Kettell, an apothecary in Charlestown, Massachusetts in the mid-nineteenth century. Kettell was a member of the Franklin Fire Society. Fire societies, the first of which was founded in Boston in 1717, were groups of men committed to protecting the property of society members from fire and looting. They were organized during a period of widespread terror of fires. These societies existed in addition to the engine companies, which turned out for every fire within a reasonable distance and manned the town’s engine. As the 1831 Charlestown city directory explained, “These societies are volunteers in the Department and are independent of its laws. They have laws peculiar to themselves, and in case of fire, are bound to protect the property of their own members, previous to any other.” Each member of a fire society was required to keep two water buckets, two large bags for carrying salvageable material, a bed key with which to dismantle beds, and a screwdriver. Members carried a list with the names and addresses of all other members of their society, and all would respond if a member’s home or place of business caught fire. One man would act as a sentry, keeping out looters, while the others saved as much of the victim’s property as possible. Fire societies prepared for fires in advance, visiting the homes and businesses of members to evaluate vulnerability to fire, study entrances and exits, and note the location of the most valuable property.
This bucket belonged to Seth Stevens, who was listed as a “tripe curer” in the 1831 Charlestown city directory. Though the bucket has been damaged, it appears that Stevens may also have been a member of the Franklin Fire Society. The work of making a leather fire bucket was usually done by two craftsmen: first, a local shoemaker would work the leather and sew the seams tightly; then, a glazier or artist would paint a name, number, or insignia on the bucket as a form of identification. Buckets were often brilliantly decorated with bright colors, bearing a family crest, a portrait, or a company motto. Such craftsmanship makes many fire buckets excellent examples of early American art. Bucket artists were not professional artists in the academic sense, though they made a living from their work. These artists generally worked for common people much like themselves. In the early republic, objects of daily life, from furniture to kitchen tools, were frequently decorated with floral and geometric motifs. This bucket is an example of an everyday object that was also a work of art. It was not only labeled with essential information—the name and town of its owner—but was also decorated with leaved branches and floral designs. At the bottom of the bucket is the “line of life,” which was often used in decoration to symbolize the ups and downs, the beginning and end, of life.
In 1857, Nathaniel Currier and James Merritt Ives became business partners and set out to produce popular, affordable decorative prints for American consumers. In the 1880s, Currier & Ives produced the "Darktown Comics" series of color lithographs, which would become one of their best-selling lines. Each of these depicted African Americans as racist caricatures and ugly stereotypes, and presented scenes where the humor, such as it was, derived from their buffoonish antics and "putting on airs.” These color lithographs were primarily created by John Cameron (1828-1906) and Thomas Worth (1834-1917), two artists employed by Currier & Ives. They drew on a broad visual vocabulary of anti-black racist tropes that had developed over the 19th century, derogatory signifiers that would have been understood and shared by their popular audience, who created a demand for similar imagery in numerous other commercial and decorative objects of the time. Cameron and Worth often set hapless black figures in traditionally white roles, such as firefighting, and the ridiculous failures they depicted helped to reinforce entrenched racial and social hierarchies, as well as to perpetuate the notions of heroism and leadership as white male prerogatives in the period after Reconstruction. When Currier & Ives shut down operations in 1907, New York City printer Joseph Koehler purchased the lithographic stones of the "Darktown Comics" series from the firm and produced restrikes under his own name for several more years.
This color lithograph – “Saved!” – depicts a fire company attempting to rescue people from a burning house. Firefighters point hoses at the fire, but their streams fall short. A woman jumps into a ragged blanket held by two firefighters, while another is carried out the door. A firefighter squirts a third figure, still inside, with the fire hose, while four others pump their old-fashioned hand engine in the background. This version is an original lithograph produced by Currier & Ives.
The traditional American leather firefighter’s helmet with its distinctive long rear brim, front shield, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and front shield were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns aided in breaking windows.
This leather fire helmet was made by an unknown maker during the early 19th century. The helmet is an interesting amalgamation of styles, featuring the combs from later helmets, but replacing the elongated rear brim with a leather “cape” hanging from the back and sides. The cape serves the same purpose as the long rear brim, preventing water from running down the fireman’s neck. The helmet also has a leather frontispiece, originally painted with three gold and red stars over the gold and red text “NIAGARA/3/PELHAM.”
The traditional American leather firefighter’s helmet with its distinctive long rear brim, front shield, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and front shield were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns aided in breaking windows.
This early leather fire helmet is interesting due to the inclusion of later features like the four combs and an extended rear brim, but lacking the metal eagle shield holder and leather shield. The hat has painted gold crossed torches on the back of the crown and a golden scroll that reads “SA CO.” This could refer to a company with the initials SA, or the town of Saco, Maine.
In 1857, Nathaniel Currier and James Merritt Ives became business partners and set out to produce popular, affordable decorative prints for American consumers. In the 1880s, Currier & Ives produced the "Darktown Comics" series of color lithographs, which would become one of their best-selling lines. Each of these depicted African Americans as racist caricatures and ugly stereotypes, and presented scenes where the humor, such as it was, derived from their buffoonish antics and "putting on airs.” These color lithographs were primarily created by John Cameron (1828-1906) and Thomas Worth (1834-1917), two artists employed by Currier & Ives. They drew on a broad visual vocabulary of anti-black racist tropes that had developed over the 19th century, derogatory signifiers that would have been understood and shared by their popular audience, who created a demand for similar imagery in numerous other commercial and decorative objects of the time. Cameron and Worth often set hapless black figures in traditionally white roles, such as firefighting, and the ridiculous failures they depicted helped to reinforce entrenched racial and social hierarchies, as well as to perpetuate the notions of heroism and leadership as white male prerogatives in the period after Reconstruction. When Currier & Ives shut down operations in 1907, New York City printer Joseph Koehler purchased the lithographic stones of the "Darktown Comics" series from the firm and produced restrikes under his own name for several more years.
This color lithograph – “Under Full Steam” – depicts a fire company attempting to rescue people from a burning house. This print is unusual in showing the firefighters employing a steam fire engine, which were common by the 1880s, particularly in urban areas. “Darktown Fire Brigade” images normally show their stereotyped firefighters using antiquated and rickety hand fire pumpers, to emphasize their racist message that their subjects are backward, inept, and unable to adapt. But the steam fire engine depicted is so woefully inadequate – part of it is made from a wood stove and a tea kettle – that the message is reinforced. Half-naked women and children flee the fire, while a woman climbing down a ladder is hit with spray from the hose. This version is an original lithograph produced by Currier & Ives.
This bucket from 1810 is painted with an allegorical figure of Mercury, the Roman messenger god. This is a typical portrayal of Mercury, dressed in a wide cloak and wearing a winged cap. Early Americans were fascinated by the ancient classical world. Beginning in the 1770s, neoclassical themes appeared everywhere, such as in paintings and newspapers, and on currency, seals, ceramics, wallpaper, and furniture. Reading classical literature, originally the province of the educated elite, spread to the middle class in the first four decades of the nineteenth century, as literacy rates rose and books became more affordable. Early Americans were in the process of developing a culture distinctly their own, and classical taste and imagery implicitly tied the young government to the great ancient republics and helped to unite the disparate parts of the new country. The god Mercury was most likely depicted on this fire bucket because he was known for his swift flights from place to place: his golden sandals were described as carrying him over earth and sea “like the blasts of the wind.” In the early nineteenth century, citizen-firefighters would have needed to respond to a blaze as quickly as Mercury. The sooner volunteers arrived with buckets, the sooner the work of extinguishing a fire and salvaging property could begin.
This “Mechanics” emblem consists of a crossed hook and ladder behind a cut-out capital letter “I” below a banner with the text “MECHANICS” painted in striped-block letters. This emblem may have been a badge or breast plate for a ribbon. This emblem may have belonged to the Mechanics Hook and Ladder Company Number 7 of New York City.
This bucket is marked with the name of its owner, the motto of his fire company or fire society, and the year 1794. The motto “Pour Nos Amis” means “For Our Friends” in French. In the eighteenth and early nineteenth centuries, volunteer firefighting was viewed as a civic responsibility. Firemen received no monetary remuneration for risking their lives, but they were well paid in terms of community respect, praise, and tribute. For example, newspapers praised the chivalry and daring of firemen on every possible occasion. Volunteer companies chose mottos that would portray them as selflessly serving their communities and fulfilling their duty as citizens. They wanted to present themselves as devoted and morally worthy. “For Our Friends” emphasized the civic virtue and commitment of the volunteer fireman, who performed strenuous work in the service of his city. It highlighted the company’s connections to its neighbors, and thus encouraged the kind of community adoration and status enhancement that volunteers received in lieu of official payment.
This bucket was most likely made in a community with a sizable French-speaking population, which would have wanted to reflect its heritage by adopting a French motto. This suggests several possible places of origin. For example, French Huguenots, who were persecuted for their Protestant faith in France, settled in large numbers in New York, Pennsylvania, Virginia, and various parts of New England. French Canadian immigrants from Quebec also settled in New England, particularly in Maine and Vermont. After the American Revolution, Congress gave French Canadians who had fought on the side of the colonies land in New York, on the shores of Lake Champlain. There was also a large French-speaking population in Louisiana, which had been claimed in the name of King Louis XIV of France in 1682. While in 1794, when this bucket was painted, Louisiana was under Spanish rule, most Louisianans were of French origin.
Note: Regarding potential cities of origin: This bucket is of the same design as G161, which belonged to W.P. Goodhue and is marked 1839. There was also a large Huguenot population in Charleston, South Carolina, but there is no W.P. Goodhue listed in the 1837-38 Charleston city directory, or in the 1838 New Orleans city directory; therefore this bucket is probably not from either of those cities.
This bucket belonged to Edward Carnes, Jr. (1807-1883). He is listed as a “rigger” in the 1831 Charlestown (Mass.) city directory. In later years, he would serve as the superintendent of an alms house in that area. In 1843, Edward Carnes, Jr. had the honor of riding the capstone to the top of the Bunker Hill Monument upon its completion. His father, Edward Carnes, was also a rigger, and was the first foreman of Warren Engine No. 4 in Charlestown. Edward Carnes, Jr. was a member of the Franklin Fire Society in Charlestown. Such neighborhood organizations were common in the Boston area in the late 18th and 19th centuries. Officers were elected from a membership that ranged from 10 to 30 men, each required to have leather buckets, bags, and tools like bed keys in good order and at the ready. In the event of a fire, members brought these to the scene with the intention of saving the property of other society members. A doorkeeper was often appointed to guard the property and a password used to prevent looters from entering. This bucket appears to have been painted the year the society was organized.
It was common for volunteer firefighters to name their organizations after Benjamin Franklin, who many credit with founding the first volunteer fire company, the Union, in Philadelphia in 1736. Franklin, having experienced the chaos and confusion that characterized ad-hoc volunteer firefighting in the colonies, was frustrated with current practices of firefighting. Large crowds gathered at the scene of a fire, and bystanders often got in the way of those trying to extinguish a blaze. As owner, editor, and publisher of the Pennsylvania Gazette, Franklin began writing articles on fire prevention and extinction. When he was thirty, Franklin organized a fire company of thirty volunteers. Additional companies, modeled after Franklin’s, quickly sprang up in Philadelphia; at the outbreak of the Revolution, there were eighteen companies in the city. Many later companies and fire societies, such as the one to which the owner of this bucket belonged, took the name of “Franklin” to pay tribute to this man’s contribution to the organization of volunteer firefighting. Indeed, several Franklin Fire Societies existed in the Boston area alone, including this one from Charlestown.
This nineteenth-century bucket is market with the owner’s name, C. Endicott, and the word “active.” “Active” most likely signified that Endicott was an active firefighter. Beginning in the 1830s, fire companies introduced new membership strategies that distinguished between different types of service. There were three grades of membership: active, honorary, and contributing. Active members performed the actual work of extinguishing fires, and sometimes paid minimal dues. Honorary members were so called because they had performed notable active service. They had the right, but were not obligated, to attend fires. Contributing members were members in name, but did not have to perform physical labor. They instead paid heavy dues, financing engine decorations and the acquisition of new technology, and were allowed to participate in parades and company functions. Over the course of the nineteenth century, the proportion of non-active firefighters steadily increased. The introduction of these three grades of service significantly changed notions of volunteer firefighting. Rather than a civic duty performed by all members of the community, the hard labor of firefighting became the duty of fewer and fewer men, those with a taste for danger or those who could not buy their way out. The owner of this bucket was evidently proud of the fact that he performed active service, and marked his equipment accordingly.
Competition, fraternal bonds and honorable service were the hallmarks of 19th century fire companies, and ornate trophies served as recognition of these values. Trophies were often presented to veteran officers in appreciation of their service. One fire company might give a commemorative trophy to another as a goodwill offering or in gratitude for their hospitality. Trophies and other awards could also be won in competitions between fire companies to demonstrate their professional skills, or even in sporting contests like baseball.
This silver trophy was made by the R&W Wilson Company of Philadelphia, Pennsylvania in 1846. The inscription reads “Presented to Jesse Ogden by his fellow Members of the United States Fire Co. for the faithfulness and ability with which he has discharged the duties of Treasurer of the Company 10, Mo. 29. 1846.” On the opposite side there is a version of the Great Seal of the United States, with an eagle clutching a shield, olive branch and bundle of arrows. Below this is a banner engraved with the motto "E Pluribus Unum.” Jesse Ogden was a Quaker and well-known literary figure in Philadelphia. He belonged to the Philosophical Society and was the managing librarian for the Apprentice's Library Company in the city.
Competition, fraternal bonds and honorable service were the hallmarks of 19th century fire companies, and ornate trophies served as recognition of these values. Trophies were often presented to veteran officers in appreciation of their service. One fire company might give a commemorative trophy to another as a goodwill offering or in gratitude for their hospitality. Trophies and other awards could also be won in competitions between fire companies to demonstrate their professional skills, or even in sporting contests like baseball.
This coin silver pitcher was made by Peter L. Krider of Philadelphia, Pennsylvania in 1851. The pitcher was presented the same year as a trophy to Robert Tempest, the President of the Hibernia Fire Engine Company. The inscription on the front reads, “Presented to ROBERT TEMPEST, President of the HIBERNIA FIRE ENGINE COMPANY, No. 1, by his fellow-members, as a token of their high regard for him as a Fireman and Presiding Officer, February 20th, 1851.” The back of the trophy is inscribed, “Reward of merit.” Robert Tempest was a successful Philadelphia jeweler with the firm of Marshall and Tempest. He joined Hibernia in 1814, having originally served as a volunteer with the Sun Engine Company.
Competition, fraternal bonds and honorable service were the hallmarks of 19th century fire companies, and ornate trophies served as recognition of these values. Trophies were often presented to veteran officers in appreciation of their service. One fire company might give a commemorative trophy to another as a goodwill offering or in gratitude for their hospitality. Trophies and other awards could also be won in competitions between fire companies to demonstrate their professional skills, or even in sporting contests like baseball.
This coin silver ewer was made in 1858 by R&W Wilson Company of Philadelphia, Pennsylvania. The pitcher was presented by the Hibernia Fire Engine Company of Philadelphia, Pennsylvania as a trophy to Colonel James Page in recognition for his service and leadership. The engraving reads, “Hibernia Fire Engine Company, No. 1 Instituted February 20, 1752. To Col. James Page, their President, In testimony of their esteem for him as a faithful member and efficient officer.” Page was elected a member of Hibernia in 1821 and served three times as the company's President. A lawyer by training, James Page was a veteran of the war of 1812, and an illustrious figure in Philadelphia. In addition to his service as President of Hibernia Fire Company, Colonel Page held many other public positions throughout his life including the Postmaster of Philadelphia, President of the Democratic State Association, Commissioner for the erection of new public buildings, Collector of the Port of Philadelphia, and Commissioner of Bankruptcy.
Competition, fraternal bonds and honorable service were the hallmarks of 19th century fire companies, and ornate trophies served as recognition of these values. Trophies were often presented to veteran officers in appreciation of their service. One fire company might give a commemorative trophy to another as a goodwill offering or in gratitude for their hospitality. Trophies and other awards could also be won in competitions between fire companies to demonstrate their professional skills, or even in sporting contests like baseball.
This silver plated trophy was created by the Pairpoint Manufacturing Company of New Bedford, Massachusetts, in 1899. The trophy has a plaque on its ebony base with the inscription “Presented to the Association of Exempt Firemen of Paterson, New Jersey, by the Liberty Fire Co. No. 5 of Reading, Pennsylvania.” The word "Victory" is incorporated into the design of the lid beneath a spread-winged eagle. The Association of Exempt Firemen was a group formed to foster camaraderie between volunteer firemen after they had ceased participating in active duty. The cup was presented to the Paterson Exempts by a small delegation of the Liberty Fire Company on September 2, 1899. It was given to commemorate a visit to Paterson by the entire Reading company in March of that year, when the Exempts served as hosts. Such fraternal visits between fire companies and veterans groups were a common practice in 19th century fire service.
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This white leather shield has three dark brown banners with raised tan leather letters that read “ENGINEER/WINCHESTER/CTS.”
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This leather frontpiece was made during the 19th century. The leather frontpiece reads “STEAMER/1/NFD.” The frontpiece has been blackened by an unknown process, but white letters and a red background can be seen in certain places.