In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This engine panel painting came from the Lexington Fire Engine Company No. 7 of New York, New York. The volunteer company was active from December 26, 1849 until September 18, 1865. The painting was signed by artist M. Betsch, and was completed around 1849. This painting depicts a rider (either Paul Revere or William Dawes) bringing news of the skirmish between the American militia and British troops at Lexington. The flag of the United States and the Gadsden (Don’t Tread on Me) flag frame the painting’s title at the bottom. The Lexington Fire Company used this painting to link their company to the patriotic deeds of their predecessors in the Revolutionary War. This painting and its companion piece (object 2005.0233.0302) would have adorned the sides of the company’s engines.
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This painting belonged to the Eagle Fire Engine Company No. 13 of New York, New York that was active from 1783 until 1865. The oil painting was created by an unknown artist around 1863. The image consists of an eagle perched on a globe, with an American flag and Phrygian cap on the flagpole. The cap is also known as a liberty cap, a symbol of freedom from tyranny. The fire company named itself after the eagle, the national bird of the United States. The imagery of the eagle connotes patriotism as well as the eagle’s history as a symbol of strength and immortality. This painting and its companion (2005.0233.0311) would have adorned either side of the company’s engine.
We Lend a Helping Hand was the motto of the Americus No.6 Company, which operated in New York, New York from 1848-1865. In addition to their motto, the Americus Company was also often represented by a tiger, or simply by its number, 6. The panel bears all of these representations, wreathed by golden garlands, but leaves out elaborate patriotic imagery or suggestive classical forms. We Lend a Helping Hand represents a more simply designed panel that plainly represented the fire company.
This panel painting belonged to the Americus Company No. 6 of New York, New York which operated from 1848 to 1865. The panel is unsigned, but is attributed to Joseph Hoffman Johnson, a founding member of the Americus Company and artist who painted the company’s famous “Big Six” engine. We Lend a Helping Hand was the motto of the Americus Company, and the painting also bears the company’s number (6) and mascot (Tiger). The panel’s design is notable for the absence of patriotic or neoclassical imagery so prevalent in engine panel paintings. This painting and its companion (2005.0233.0317) would have adorned either side of the company’s engine.
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This painting belonged to the Eagle Fire Engine Company No. 13 of New York, New York that was active from 1783 to 1865. The oil painting was created by an unknown artist around 1863. The painting is a full-length portrait of Chief Engineer Harry Howard. Howard is holding a speaking trumpet and resting his hand on a table that bears his work helmet. Upon his death in 1896, Howard was the last surviving Chief Engineer of the Volunteer Fire Department of New York City. A great supporter for the paid Metropolitan Fire Department established in 1865, Howard advocated for pay raises for firemen, the establishment of a firefighter’s retirement home, and gave $1,000 to the exempt firemen’s burial fund. This painting and its companion (2005.0233.0310) would have adorned either side of the company’s engine.
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This fire engine panel painting likely came from the Aetna Fire Engine Company No. 16 of New York City that was active from 1786 to 1833. The painting is attributed to Thomas Sully and dates to around 1832. This painting takes after Edward Savages’ Liberty in the Form of the Goddess of Youth: Giving Support to the Bald Eagle [1796], a popular image of the period. The image parallels the mythological figure of Hebe, cupbearer to the gods of classical Greece, bringing them ambrosia and the nectar of immortal youth. It depicts a figure of Liberty pouring a bowl of ambrosia for an American bald eagle, granting it the immortality of the gods. Neo-classical themes on panel paintings linked the new nation to the ancient ideals of liberty, democracy and prosperity. They also allowed the volunteer companies to display paintings of an idealized female form, an image that was sure to be eye-catching during parades.