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.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in the eastern United States during the first half of the 19th century. The hat is painted black overall, with the text “HARMONY” arching over the image of a speaking trumpet, all painted in gold on the hat’s front. The painting on the back of the hat has deteriorated, but there are traces of a fire hydrant painted in gold with the text “WE [illegible] TO SERVE” arching above. The owner’s initials “C.P.S.” are painted in gold on the crown of the hat. A speaking trumpet, as seen on this hat, was a necessary tool to shout commands over the noise and disorder of a fire scene. The trumpets became well known as a symbol of authority, and continue to serve as rank insignia in fire departments. The fire hydrant, which is the symbol of the Fire Association of Philadelphia, suggests that the hat may have belonged to a member of the Harmony Engine Company No. 6. Founded in 1784, it operated as a hand engine company 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. In 1867 the Franklin Hose Company No. 28 purchased its charter and operated as the Harmony Steam Fire Engine Company No. 6 until 1871 when Philadelphia’s paid firefighting department was established.
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.
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.
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.
The hat is painted blue overall, with a central image of a flying angel (or alternately an allegorical representation of Fame) blowing a trumpet with a sunburst in the background. The portrait is framed in gold, flanked with banners above and on each side. The name of the original company appears to have been obscured by blue paint in the banners, but there is a paper tag on the inside that reads “THE PROPERTY/HARRY NEEL.”
Missionary Society of the Methodist Episcopal Church
maker
Currier, Nathaniel
ID Number
DL.60.2929
catalog number
60.2929
accession number
228146
Description
This black and white print is of a life membership to a Mr. Philip J.A. Harper issued by the Missionary Society of the Methodist Episcopal Church. The Society, begun in 1820 and headquartered in New York City, was among the earliest organizations that focused on mission within and outside the United States. It initially worked to convert Native Americans and slaves before extending its activities to inhabitants of West Africa and elsewhere overseas.
A vignette depicting missionary activity appears above the text that was inspired by the Society’s proselytizing during the 19th Century. On the right side is a depiction of Native Americans and Africans who were “saved” due to the preaching of a missionary. The left side shows the damnation that comes to those who fail to hear God’s word. Above the scene floats a triumphant angel sent by God who is blowing a trumpet, Bible in hand.
This print was produced by Nathaniel Currier (1813-1888). Currier was the founder of the company that eventually became the Currier & Ives lithography firm. At the age of fifteen Currier apprenticed with the Pendleton lithography firm in New York City. Five years later he moved to Philadelphia to work with the lithographer M.E.D. Brown (1810-1896). After a year Currier moved back to New York, where he intended on going into business with one of the Pendleton brothers. Instead he formed a partnership in 1834 with Adam Stodart who was in the sheet music business. Within a year he opened his own lithography company on Wall Street and then moved to Nassau and Spruce. In 1852 a bookkeeper named James Merritt Ives joined the firm. He married Charles Currier’s sister-in-law and brought to the firm a critical eye and business acumen. In five years he had become a partner. Currier & Ives would become arguably the most successful and prodigious lithography firm of the 19th century. Although especially well known for prints celebrating American landscapes and pastimes like sailing and ice skating, Currier & Ives also produced lithographs that featured current events, social issues and political controversies
The sidewheel steamer George Law was built in 1852/53 at New York by William H. Webb for the United States Mail Steamship Company. Named after the company president, the Law measured 278 ft. long and 2,141 tons. It was built to sail the New York-Panama route for the California gold rush. In 43 round trips between 1852 and 1857, the ship carried as much as a third of all the gold found in California. In 1857, the ship went aground and returned to the Webb yard for a major overhaul. The Law's name was changed to Central America during the rebuilding, possibly to reflect its most common route and because its namesake had sold his interest in the company.
On September 3, 1857, the Central America left Panama for New York City with nearly 600 passengers and crew, as well as thousands of new $20 Double Eagle gold coins produced at the San Francisco mint. Nine days later, the vessel sank in a hurricane off Cape Hatteras, North Carolina, in the deadliest peacetime shipwreck in American history. Four hundred twenty-five people perished in the wreck, and tons of California gold went to the bottom. The wreck horrified and fascinated the American public and helped fuel a financial crisis known as the Panic of 1857. Without the Central America’s gold, several New York banks were unable to pay their creditors.
In 1858, President James Buchanan gave this ornamental silver speaking trumpet to the captain of the German bark Laura for bringing the Central America’s final three survivors to New York. Actually, the British brig Mary had rescued the men after nine horrific days on the open sea. However, the Mary was bound for Ireland, so it transferred the survivors to the New York-bound Laura. The inscription reads:
“The President of the United States to Capt. Martin Brinckmann of the Bremen Bark Laura for his humane zealous and successful efforts in rescuing one of the Passengers and two of the Crew of the Steamer Central America from the perils of the Sea. 1858”
White on black lithograph of American jazz trumpeter, composer, vocalist, and actor, Louis Armstrong (1901-1971). The portrait is of a 3/4 back profile of Armstrong playing a trumpet. The print is marked:
[printed along bottom]
ARMSTRONG
[in script, bottom right]
LOUIS ARMSTRONG
[in script]
Charles Delaunay
This print is from a set of 15 lithographs of jazz musicians by Charles Delauney, entitled Hot Iconography, first printed in 1939.
Charles Delaunay (1911–1988) was a French author and jazz expert. Delaunay was the co-founder and long-term leader of the Hot Club de France, a French organization of jazz fans dedicated to the promotion of "traditional" jazz, swing, and blues. In 1931, the Jazz Club Universitaire was founded, and later became the Hot Club de France in 1932.
Depicting angel blowing a trumpet. Silhouette figure made of stamped metal. The figures lower body and arm are inserted into a vertical support. The front arm is supporting a horn and there are two wings and garland in the figure's hair.
This undated print is a reference to the so-called “Bank War” following President Andrew Jackson’s decision to remove the deposits from the Second National Bank of the United States. The print depicts Andrew Jackson in a theatrical costume, portraying Richard III in front of a crowd at the base of the US Capitol. The title of the print refers viewers to Act Four, Scene Four of the Shakespeare Play, Richard the Third. In this scene, Queen Elizabeth mourns the death of her sons at the hands of Richard III. She is devastated and enraged, and calls upon Richard’s mother and her mother in law, the Duchess of York, to curse the troubled King. The two women confront Richard, and he is enraged in his denial saying, “blow the trumpets! Sound the alarm drums! Don’t let the heavens hear these tell-tale women insulting the Lord’s anointed. Sound I say!” While Jackson greatly differed from Richard III, he was similarly manipulative and dismissive of his political wrong doings. On the right of the print, stands robed female figures representing “Liberty” and “Justice,” who are asking him where their “children… public confidence, honor, reputation, and credit” are. In Richard the Third, Richard murders the children who are supposed to be leading the country. The implication is that Jackson did the same to the aforementioned American values by removing the deposits from the Second National Bank of the United States. Jackson almost directly quotes the character of Richard when confronting “Liberty” and “Justice” stating, “A flourish trumpets strike alarm drums, let not the Heavens hear those tell tall women rail on the Lords anointed. Strike I say.” Behind Jackson stands fictional character Major Jack Downing (created by journalist Seba Smith to symbolize the common man) and Vice President Martin Van Buren both dressed in similar period garb to Jackson, perhaps filling the roles of Richard III’s friends, Ratcliffe and Catesby.
The lithographer of this print is E. Forbes. It is likely that this is artist Elisha Forbes who worked in New York City from approximately 1830 to 1846, but further information is not available at this time.
Color print of firemen pumping water from a fire engine. The foreman or chief engineer stands on the engine giving orders with a speaking trumpet while another fireman climbs a ladder against a burning building carrying the hose in the background.
Tiffany Glass & Decorating Company, or Tiffany Studios
ID Number
CE.96433
catalog number
96.433
accession number
30543
maker number
x 1228 (etched)
Description (Brief)
Favrile glass. Blue glass body; Form: Lower half is trumpet shape expanding above the waist to a slightly bulbous top with short large cylindrical neck. Decorated with stripes up and down like grass leaves; iridescent surface. Purchased from Charles Tiffany, $25.00.
Tiffany Glass & Decorating Company, or Tiffany Studios
ID Number
CE.96416ab
accession number
30453
catalog number
96416ab
maker number
x 856 (scratched)
Description (Brief)
Favrile glass. Body is of light green glass. Form: shortened ovoid body with short large concave neck and flaring lip. Cover is shouldered on its lower side; top has a conical center trumpet shape and terminates in a tapering rod, its end looped back and bent partly around the shaft. Decorated with red-tinted grasses over the entire surface; iridescent. Purchased from Charles Tiffany for $70.00.
White on black lithograph of American jazz singer, trumpeter, dancer and bandleader of swing, Freddy Taylor (1914-1970). 3/4 profile of Taylor wearing a hat. No signature or number/year on print. The print is marked:
FREDDY TAYLOR
This print is from a set of 15 lithographs of jazz musicians by Charles Delauney, entitled Hot Iconography, first printed in 1939.
Charles Delaunay (1911–1988) was a French author and jazz expert. Delaunay was the co-founder and long-term leader of the Hot Club de France, a French organization of jazz fans dedicated to the promotion of "traditional" jazz, swing, and blues. In 1931, the Jazz Club Universitaire was founded, and later became the Hot Club de France in 1932.
White on black lithograph of American jazz trumpeter, composer, vocalist, and actor Louis Armstrong (1901-1971). The portrait is a close-up of Armstrong's face. The print is marked:
[printed along bottom]
LOUIS
[in script, bottom right]
LOUIS ARMSTRONG
[in script]
Charles Delaunay 34
This print is from a set of 15 lithographs of jazz musicians by Charles Delauney, entitled Hot Iconography, first printed in 1939.
Charles Delaunay (1911–1988) was a French author and jazz expert. Delaunay was the co-founder and long-term leader of the Hot Club de France, a French organization of jazz fans dedicated to the promotion of "traditional" jazz, swing, and blues. In 1931, the Jazz Club Universitaire was founded, and later became the Hot Club de France in 1932.
White on black lithograph of American jazz trumpeter, composer, vocalist, and actor, Louis Armstrong (1901-1971). The portrait is of a side profile of Amrstrong. The print is marked:
[printed along bottom]
LOUIS ARMSTRONG
[in script, top left]
LOUIS ARMSTRONG
[in script]
Charles Delaunay 34
This print is from a set of 15 lithographs of jazz musicians by Charles Delauney, entitled Hot Iconography, first printed in 1939.
Charles Delaunay (1911–1988) was a French author and jazz expert. Delaunay was the co-founder and long-term leader of the Hot Club de France, a French organization of jazz fans dedicated to the promotion of "traditional" jazz, swing, and blues. In 1931, the Jazz Club Universitaire was founded, and later became the Hot Club de France in 1932.
This 1837 is a commentary on the Specie Circular, an executive order implemented by President Andrew Jackson in 1836, and implemented by Martin Van Buren during his presidency. In this print, New York politician/ longtime ally of Van Buren, Silas Wright who is holding a whip and driving a carriage. Seated next to him is “Globe” editor, Francis Preston Blair who is giving a speech on the Species Circular and its impact through a trumpet. The carriage is being pulled by a team of four horses with the heads of Secretary of the Treasury Levi Woodbury, Secretary of War Joel Roberts Poinsett, Secretary of the Navy Mahlon Dickerson, and Postmaster General and Democratic political advisor Amos Kendall. These four men were part of the driving force of the Specie Circular, represented in this print by them pulling President Van Buren and Secretary of State John Forsyth. They are chasing a devil-like character who is leading them towards a gold nugget in the road. The Specie Circular mandated that all government lands be purchased in gold or silver, a decision in line with the Jackson Administration’s desire to preserve the gold standard for currency.
The lithographer of this print is Moses Swett. He began his career in Boston around 1826, working with the Pendletons and Annin and Smith, and as the superintendent of the Senefelder Lithographic Co. from 1828 to 1829. In 1830 he moved to New York, and worked with George Endicott until 1836 when he moved to Washington.
This transfer printed creamware pitcher was made by Josiah Wedgwood in Stoke-on-Trent, England around 1790. One transfer print depicts the winged figure of Liberty on a cloud blowing her trumpet. The other transfer print features a portrait of Benjamin Franklin wearing his famous beaver cap, with a scroll underneath that reads “Born at Boston in New England, 17 Jan. 1706/L.L.D.F.R.S.” The portrait of Franklin on this bowl is based on the 1777 drawing by French artist Charles Nicolas Cochin.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
