Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The People's Insurance Company, New Orleans, Louisiana issued this fire mark around 1871. The shield-shaped brass mark has a central image of a fireman with trumpet in hand. The fireman’s pose is similar to the one taken by the subject in the Currier and Ives print, “The American Fireman: Rushing to the Conflict.” There is text around the mark that reads “THE PEOPLE’S/INSURANCE.” The People’s Insurance Company operated from 1871 until 1887.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen’s Insurance Company of Pittsburgh, Pennsylvania issued this fire mark in 1851. The mark is a cut-out image of a fireman wearing a hat and cape. The fireman is next to a fire hydrant, using a speaking trumpet, with a wrench in his hand to open the hydrant. The fireman is standing on a crescent shaped base that has raised text that reads “FIRE COMPANY.” The mark is painted reddish-brown. The Associated Firemen’s Insurance Company operated from 1850 to around 1857.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen’s Insurance Company of Pittsburgh, Pennsylvania issued this fire mark in 1851. The mark is a cut-out image of a fireman wearing a hat and cape. The fireman is next to a fire hydrant, using a speaking trumpet, with a wrench in his hand to open the hydrant. The fireman is standing on a crescent shaped base that has raised text that reads “FIRE COMPANY.” The mark has trace amounts of gold paint. The Associated Firemen’s Insurance Company operated from 1850 to around 1857.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen's Insurance Company of Baltimore, Maryland issued this fire mark in 1848. The cast iron oval mark has a raised central image of a fireman rushing to a fire blowing a trumpet and holding a burning brand. The background of the mark has been painted gold, and the fireman and raised border has been painted brown. The Associated Firemen's Insurance Company operated from 1847 until 1899, when it was absorbed and reinsured by the Fidelity Fire Insurance Company of Baltimore.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen's Insurance Company of Baltimore, Maryland issued this fire mark in 1848. The cast iron oval mark has a raised central image of a fireman rushing to a fire blowing a trumpet and holding a burning brand. The Associated Firemen's Insurance Company operated from 1847 until 1899, when it was absorbed and reinsured by the Fidelity Fire Insurance Company of Baltimore.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1781
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX. / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA / DUPRE F.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1839
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX. / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA / DUPRE F.
This candlestick was owned in the Copp family home in Stonington, Connecticut during the 18th and 19th century. The oval candlestick has an oval, single-reeded, removable nozzle with rolled edge and flared candle cup or socket atop a plain, single-seamed stem with single bead at top and molded band at bottom above the oval, trumpet-shaped, molded base with grooved border.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
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.
This candlestick was owned in the Copp family home in Stonington, Connecticut during the 18th and 19th century. The oval candlestick has an oval, single-reeded, removable nozzle with rolled edge and flared candle cup or socket atop a plain, single-seamed stem with single bead at top and molded band at bottom above the oval, trumpet-shaped, molded base with grooved border.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1781
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX. / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA / DUPRE F.
General Information: Strike: trial piece - note circular scribe lines, suggesting that the die has not yet been finished.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1781
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX. / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA. / DUPRE F.
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 an original lithograph produced by Currier & Ives.
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, 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 frontpiece 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 could aid, if necessary, in breaking windows.
This leather fire helmet was made around 1870. The helmet has eight combs, and is painted dark blue overall. An ivy-vine design is stamped around the brim of the hat. The frontpiece holder is a small metal figuring depicting a fireman shouting into his speaking trumpet.
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.
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, 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 frontpiece 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 could aid, if necessary, in breaking windows.
This leather fire helmet was made in the 19th century. The black helmet is comprised of eight combs with a floral design stamped into the brim. There is a metal lion frontpiece holder mounted on the crown. The leather frontpiece originally read “ASST/CHIEF/DFS,” but several of the letters are missing. The text surrounds a painted image of three crossed fire trumpets inside an orange circle.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1781
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female, places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA / DUPRE F.
General Information: Struck from the 1839 Barré dies, most probably in France as a prototype to show to the U.S. Mint in Philadelphia.
One (1) Daniel Morgan at the Cowpens medal, (Comitia Americana)
United States (France), 1781
Obverse Image: Morgan leads an infantry change on horseback against a retreating British cavalry; another cavalry charge is visible in the background.
Obverse Text: VICTORIA LIBERTATIS VINDEX. / FVGATIS CAPTIS AVT CAESIS / AD COWPENS HOSTIBVS / XVII. JAN. MDCCLXXXI / DUPRE. INV. ET. F.
Reverse Image: America, represented as a semi-nude Indian female places a crown of laurels on the head of Morgan who stands in uniform to her right; he bows slightly to receive his crown; behind them are two cannons, a shield, trumpet, fasces, and sundry standards to represent war.
Reverse Text: DANIELI MORGAN DUCI EXERCITUS / COMITIA AMERICANA / DUPRE F.
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.”