Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid-19th century, these badges became mandated by uniform codes. These badges often served as official identification for firefighters at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield-shaped, or the Maltese cross. While shield-shaped badges were often worn on the chest, circular and Maltese cross badges are seen on jacket lapels or soft caps. Badges usually detailed the company’s city, company name, and/or company number, decorated with various symbols of the profession such as hose reels, hand-pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies many badges also featured the badge number of the wearer.
This ribbon belonged to a member of the arrangement committee for Ramsey, New Jersey’s Firemen’s Day in 1905. The ribbon has an upper pin behind a metal plaque holding a paper insert that reads “Arrangement Committee.” Hanging from the plaque is a ribbon in the style of an American flag with a circular pin bearing the image of a fireman wearing a fire helmet. A red ribbon also hangs from the plaque, bearing the text “FIREMEN’S/DAY/RAMSEY/FIRE DEPT/1905” in gold text.
This ribbon belonged to a member of the Lawson Hose Company No. 5 Veteran’s Association of Newburgh, New York. The ribbon is made of red, white, and blue vertical stripes, with a golden tassel at the bottom. The top of the ribbon is decorated with an image of a silver embossed hose reel. The ribbon bears the text in silver lettering, "LAWSON / HOSE COMPANY / NO. 5 / VETERAN ASS'N, / NEWBURGH N.Y."
The Lawson Hose Company No. 5 was established in 1871 after the Cataract Engine Company disbanded, and likely operated until the establishment of the paid Newburgh department in 1934. Veteran associations were formed after the introduction of paid municipal fire companies to sustain the fraternity and camaraderie that existed among volunteer firefighters.
This white and red ribbon has a brass pin and rings at the top. It was designed to be worn as a badge by a member of the Phoenix Silk Manufacturing Company’s Reception Committee. The upper section of the ribbon has a metal ornamentation of two crossed American flags on poles, topped by a spread-winged eagle and a banner above its head that reads “RECPTN. COM.” The ribbon has a red strand that reads “PHOENIX/SILK M’F’G CO.” in gold, and a white strand that reads “EMPLOYEES/PATERSON N.J.” The water power supplied by the Great Passaic Falls made Paterson an attractive city for manufacturing, and the Phoenix Manufacturing Company began operating in Paterson in 1824. In 1892 it changed its name to the Phoenix Silk Manufacturing Company, under which it operated until the 1910s.
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 – “The Darktown Hook and Ladder Corps” – depicts a ladder company headed to a fire. The ladder truck is rickety and pulled by a white mule, assisted by grandstanding firefighters. Spectators wave from the side of the road. This version is a restrike produced by Joseph Koehler after 1907.
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 – “The Last Shake” – depicts a fire company (“Niagara”) engaged in a contest to throw water high enough to reach a liberty cap atop a pole, but the effort ends in chaos. Their old-fashioned fire pumper is broken, the firefighters are thrown in all directions, and the spectators are running away. It is paired with a second scene entitled “The Last Shake.” The print is a racist parody of the common practice of fire companies in American towns and cities to mark holidays with parades and contests, including pumping challenges. This version is a restrike produced by Joseph Koehler after 1907.
The red ribbon badge belonged to a delegate to the 18th annual convention of the New Jersey Exempt Firemen’s Association in Englewood, New Jersey on May 18, 1904. While organizations for exempt firemen (those with five years of volunteer service) had existed in prior to 1889, an act of the New Jersey legislature in 1889 provided for the incorporation of local exempt associations and the formation of a state association of exempt firemen. It also established an annual state convention in May for which five delegates would be selected from each local association to represent their chapter in any voting matters.
This badge would have belonged to such a delegate. The ribbon has an upper pin behind a bronze-colored metal frame holding a paper insert that reads “DELEGATE” in black on a white background. A circular painted image depicts a fireman with trumpet, flanked by a hook and ladder cart and a steam engine in a bronze frame hanging from a blue ribbon anchored to the frame. The red ribbon reads “18th ANNUAL/CONVENTION/NEW JERSEY/EXEMPT FIREMEN’S/ASSOCIATION/ENGLEWOOD, N.J./MAY 18, 1904” in gold text.
This badge likely belonged to a member of Hose Company No. 4 located in Baldwin, New York. The badge takes the form of a twisted hose with nozzle in the shape of a figure 8, with a fire helmet at its start. The hose reads “BALDWIN HOSE 4” in raised letters. This badge was likely a decorative pin worn on a lapel.
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 – “A Prize Squirt” – depicts a fire company (“Niagara”) engaged in a contest to throw water high enough to reach a liberty cap atop a pole. A group of spectators looks on and one man, dressed somewhat like Uncle Sam, holds a trophy, engraved “Prize Mug.” The fire pumper depicted is intentionally old-fashioned and shoddy, and the firefighters must stand on a board and sawhorses in order to operate it. It is paired with a second scene entitled “The Last Shake.” The print is a racist parody of the common practice of fire companies in American towns and cities to mark holidays with parades and contests, including pumping challenges. This version is a restrike produced by Joseph Koehler after 1907.
This commemorative medal was made to celebrate an 1889 trip of the Monhagan Hose Company of Middletown, New York, to visit the Cataract Engine & Hose Company No. 1 of Goshen, New York. The medal seen in object 2005.0233.1587 commemorates a trip by the Cataract Engine & Hose Company to the Monhagan Hose Company in Morristown, suggesting the visits may have been an annual event. This badge consists of three horizontal metal cartouches hanging vertically, linked by chains, with a small gold tassel at the bottom. The cartouches read “MONHAGAN/CATARACT/GOSHEN 1889.”
This badge (or medal) belonged to an attendee at the Pennsylvania State Firemen’s Celebration, likely during the early 20th century. The two-tiered badge has an upper plaque that reads “PENN STATE/OCT. 1-4” with a circular medal hanging from two chain links. This lower medal has a central image of a running fireman with trumpet in hand, wearing a red shirt, blue pants, and black helmet. Crossed ladders are on the left, with a crossed hook and axe on the right. The rim of the medal reads “FIREMENS CELEBRATION.” The circular badge is surrounded by a laurel wreath, and topped by a spread-winged eagle in enamel with the American flag under each wing.
This white metal fire badge departs from the common shield, circle, or Maltese-cross badge design in favor of a curved rectangular form. The decoration on the badge also differs from many of the other badges in the collection. The badge may in fact have been used as a helmet frontpiece rather than a badge, although it is somewhat smaller than most.
The badge has a central cartouche with a bronze-colored banner that is inscribed “FOREMAN,” filled with black enamel, above the bronze raised numeral “VI.” Fire plugs to the left and right of the badge’s lower portion have hoses that frame the badge and whose nozzles cross at the top of the badge. A hook and ladder are crossed at the bottom of the badge, while a crossed fireman’s lantern and axe are at the top of the badge.
This shield-shaped metal fire badge has a stippled brown background with raised brass text that reads “GOODWILL/746/H.F.D.”
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This white metal fire badge departs from the common shield, circle, or Maltese-cross badge design in favor of a curved rectangular form. The decoration on the badge also differs from many of the other badges in the collection. The badge may in fact have been used as a helmet frontpiece rather than a badge, although it is somewhat smaller than most.
The badge has a central cartouche with a bronze-colored banner that is inscribed “ASSISTANT” filled with black enamel above the bronze raised numeral “VI.” Two fire plugs left and right of the badge’s lower portion have hoses that frame the badge and whose nozzles cross at the top of the badge. A hook and ladder are crossed at the bottom of the badge, while a crossed fireman’s lantern and axe are at the top of the badge.
This silver-colored metal fire badge has a faceted rim and a stippled background. The top of the badge bears the raised initials “C.F.D.” A bronze-colored raised number “1” is in the center of the badge, with a raised image of a ladder truck below.
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This shield-shaped metal badge is inscribed “C.F.D. /1” with the number “125” in a plaque at the top of the badge. The badge is decorated with an image of a hook and ladder truck.
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This silver-plated shield-shaped badge bears the engraved block lettering "Hose Reel / 5 / T.H." It was likely used by a member of a hose company during the late 19th century.
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This circular metal badge belonged to a member of the fire department of Plainfield, New Jersey. The badge’s rim is decorated with an encircled hose. The ridged background of the badge holds a raised inscription that reads “PLAINFIELD/24/FIRE DEPT.”
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This oval fire badge is inscribed with the number “2” in the center, above a banner that reads “R.F.D.” Both inscriptions are filled in with black enamel. The rim of the badge is made to resemble riveted hose, and the badge is decorated with two crossed trumpets.
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.
This circular metal badge reads "WORCESTER FIRE DEPARTMENT" in block lettering around the rim with the number "55" in a banner at the bottom of the badge. The center of the badge reads "ASST. FOREMAN HOSE" around the number "2"—all in blue enamel.
Metal firefighter’s badges were a part of the firefighter’s uniform since volunteer companies began to proliferate in the early 19th century. As volunteer companies gave way to municipal fire departments during the mid–19th century, these badges became mandated by uniform codes. Badges served as official identification at fire scenes, as access to derelict buildings by unscrupulous citizens could result in looting. Fire badges came in a variety of shapes, most notably circular, shield–shaped, or the Maltese cross. While shield–shaped badges were often worn on the chest, circular and cross-shaped badges can be seen on jacket lapels or soft caps. Badges usually detailed the company’s name, number and department, and were often decorated with various symbols of the profession such as hose carriages, hand–pumped engines, hoses, trumpets, helmets, hooks, and ladders. For paid municipal companies, many badges also featured the badge number of the wearer.