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 came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company from 1792 until 1863 when it acquired a steam fire engine. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The painting “Franklin at Desk” is attributed to David Rent Etter and dates to around 1830. The painting depicts Benjamin Franklin’s dictating his memoirs to his grandson. Benjamin Franklin was well known for organizing the first volunteer fire company in Philadelphia, and his image and his name were popular among the city’s fire companies. By invoking Franklin, volunteer firemen linked themselves to the progenitor of their trade, as well as someone who played a key role in the American Revolution. This painting and its companion piece (object 2005.0233.0018) would have adorned either side of the company’s engine.
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 white leather helmet was made around 1889. The helmet has 24 combs, a metal eagle frontpiece holder, and a rear brim embossed with an image of a hoses, hooks, ladders, lamps, and horns. A metal plate sits in the center of the image with the engraving “David I. Turnbull, appointed May 1, 1889.” The frontpiece reads “CHIEF/D.I.T.” with a painted central image of a fire trumpet with a helmet perched on top and a variety of firefighting tools crossed behind the trumpet. The helmet belonged to David I. Turnbull, who served as Chief Engineer in Paterson in 1877 and was appointed Chief Engineer by the Paterson aldermen, serving from May 1889 until May 1890.
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 by Cairns & Brother of New York, New York in the 19th century. The leather frontpiece was made by John M. Migeod & Son of Philadelphia and added to the helmet at a later date. The red helmet has eight combs with the date “1830” painted in gold on the rear brim. The frontpiece is white with the text “COLUMBIA/5/AH” in raised letters on the front. The initials “AH” likely were the initials of the helmet’s owner. This helmet is one of the few red hats within the CIGNA collection. While helmet color could identify a firefighter's company rank and apparatus assignment, it was also an outcome of personal preference or the fire department's financial ability and willingness to buy more expensive helmets.
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 by Cairns & Brother of New York, New York in the late-19th century. This red helmet was a Cairns Ventilater model with four combs in a cross-thatched design and a metal eagle frontpiece holder mounted on the crown of the hat. The date “1885” is painted in white on the rear brim of the helmet. The leather frontpiece is painted white with a black cross in the center. The frontpiece reads “INDEPENDENT/1/DUNMORE.” The helmet likely belonged to the Independent Hose Company Number 1 of Dunmore, Pennsylvania founded in 1885.
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 manufactured by Cairns & Brother of New York, New York in the late 19th century. The 16 comb hat is painted black overall, with ivy vine scroll work stamped around the brim, and a two hoses flanking an inset metal frontpiece on the back of the brim. There is a metal frontpiece holder in the form of the fireman with a speaking trumpet to his mouth. The frontpiece is black leather with a red background and white lettering. The frontpiece reads “LIBERTY/7” in white leather and is signed “Daniel Gregory/Paterson, NJ” in the center. Gregory served as a member of several different Paterson Fire Companies, and was an officer in the Exempt Association of Paterson.
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 by Anderson & Jones of New York, New York around 1886. This helmet was likely presented to J.J. Rowe of Ossining, New York to commemorate his position as first assistant engineer in 1886. The leather helmet is painted white and has sixteen combs with a metal eagle frontpiece holder mounted on the crown. The hat’s brim has a stamped scrolled border, with two hydrants flanking a frontpiece shaped brass plate in the rear that bears the engraving “To J.J. Rowe, by Ossining Hose Company, 1886.” The leather frontpiece bears the text “1st ASS’T /ENGINEER/J.J.R.” and a painted image of spider-type hose reel in the center.
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 by Cairns & Brother of New York, New York in the second half of the 19th century. The helmet is painted black overall, its eight combs are painted gold, and a metal eagle frontpiece holder is mounted on the crown. There is a pressed ivy-vine design around the rim, and the date “1812” is painted in gold on the rear brim. The gold frontpiece reads “GLOBE / FIRE / 30 / COMPANY / RFR” in raised letters. “Presented to Wm. M. Kidd” is written on the hat’s inner band. It is likely that the helmet and frontpiece were not originally produced together. The Globe Fire Engine Company No. 30 of the Kensington District of Philadelphia was founded in 1820 as a hand engine company. It acquired a steam fire engine in 1863 and operated as steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
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 used during the 19th century, likely in Philadelphia, Pennsylvania. The helmet has eight combs, with a metal eagle frontpiece holder mounted on the crown. The hat is missing its front frontpiece, but the rear brim features a gold painted image of a fire hydrant with attached gushing hose, flanked by the initials “FA.” This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. The hat likely belonged to a fire company that was part of the Fire Association of Philadelphia. There is a paper label inside the hat that reads “Presented to Insurance Company of North American by William K. Gorhan, Ridley Park, Pa., husband of Martha Stille McIntyre Gorham, whose father, John McIntyre owned same.”
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted blue, with the company name “Delaware” in gold with black shading and the date "1821" in gold with red shading. The company number "4" is at each end of the cape in gold with black shading. The cape was most likely from the Delaware Fire Company based in Trenton, New Jersey, founded in 1821. The cords on this cape are still intact and show how these rather heavy capes would be tied around the fireman’s neck.
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 came from the Americus Fire Engine Company No. 6 of New York, New York. The volunteer company was organized December 11, 1848 and disbanded on September 18, 1865 when it became Engine 15 in the paid Metropolitan Fire Department of New York. John Archibald Woodside Sr. painted The Birth of Venus around 1849. The painting depicts Venus arising from the waves, an image common among neoclassical paintings. Such neoclassical themes on panel paintings linked the new nation to the ancient ideals of liberty, democracy and prosperity. The use of neoclassical images also allowed artists to paint an idealized nude female form that would make their beloved engine especially eye-catching during parades. This painting and its companion (2005.0233.0303) adorned the company’s 1842 John Agnew hand-pumped engine.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is blue overall with the name “Hand in Hand” painted in gold text with red shading and the date “1772” in gold with light blue shading below. The number “2” is painted in gold with light blue shading on the shoulders. The cape belonged to a member of the Hand in Hand Fire Company of York, Pennsylvania. The Hand in Hand Company was founded in 1772, and was one of the oldest companies in the country.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted blue with the text "EAGLE No. 3" in gold with red shading, with gold stars on at each end of the cape. “Eagle” was a common name for American fire companies, which used patriotic names and symbolism to proudly link themselves with the newly established United States of America.
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This silver plated speaking trumpet was presented to James McQuire, Jr. around 1872. There are two crossed ladders engraved at the top of the shaft, and below this is an oval cartouche formed by a fire hose with an image of a fireman with a speaking trumpet at the center. The inscription reads “Presented to James McQuire, Jr. by the Members of Blackstone Hose Company No. 1, October 5, 1872” and is flanked by two small classical figures in short tunics with trumpets. At each side is a ladder rising from the bell to the shaft, and at the back are two rings for attaching a cord, each in the shape of a fire helmet. The trumpet’s bell is engraved with an image of a hose carriage, which is surrounded by a floral motif. The Blackstone Hose Company was founded in Norwich, Connecticut in 1868 and named for a prominent local businessman and politician, Lorenzo Blackstone.
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 by John M. Migeod and Son of Philadelphia, Pennsylvania in the 19th century. The black helmet has eight combs with a stamped ivy-vine design around the helmet’s brim. The rear brim of the helmet has the initials “FA” painted in gold flanking an image of a fire hydrant with protruding hose. This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. A metal frontpiece holder in the shape of a fox is mounted onto the crown of the helmet. The frontpiece is painted white, with a large black “6” in the center and the words “HARMONY / FIRE Co” on red banners arching around the top and bottom of the frontpiece. The Harmony Fire Company No.6 was founded in Philadelphia in 1784 by a group of Quakers. 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.
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 by Anderson & Jones of New York, New York around 1845. The black helmet has an embossed ivy-vine design around the helmet’s brim. The helmet has 32 combs and a metal eagle frontpiece holder attached to its crown. The black leather frontpiece has a central image of a speaking trumpet topped by a fire helmet, with a variety of firefighting paraphernalia including hoses, hooks, and axes behind it. The frontpiece reads “N.Y./VOLUNTEER/ASSOCIATION/HKW” around the central image. On the rear underbrim is an inset that bears the text “Presented to/H.K. Woodruff by/ G.J.D. M.S.D.V./M.L. J.E.M./P.S.D.V.” This hat was presented to H.K. Woodruff, a volunteer firefighter formerly of the Independent Hose Company No. 3, upon the organization of the New York Volunteer Firemen’s Association. The Firemen’s Association was organized in February of 1884 and was filled with ex-volunteer firemen who wished to keep the memory of volunteer firefighting alive after the creation of the paid fire department in New York.
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 came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company from 1792 until 1863 when it acquired a steam fire engine. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The painting “Franklin at Desk” is attributed to David Rent Etter and dates to around 1830. The painting depicts Benjamin Franklin’s dictating his memoirs to his grandson. Benjamin Franklin was well known for organizing the first volunteer fire company in Philadelphia, and his image and his name were popular among the city’s fire companies. By invoking Franklin, volunteer firemen linked themselves to the progenitor of their trade, as well as someone who played a key role in the American Revolution. This painting and its companion piece (object 2005.0233.0018) would have adorned either side of the company’s engine.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape has been painted red overall with the name “Good Will” written in gold, with the date “1804” below. The number “3” is painted in gold on each shoulder. This cape likely belonged to a member of the Good Will Steam Fire Engine Company No. 3 of Trenton, New Jersey. The Good Will Fire Company was originally organized in January of 1848, but after it became an auxiliary company to the Resolution Fire Company in December of that same year, it took the Resolution Company’s founding date of 1804 for its own.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted red overall with a gold trim. A black banner in the center of the cape reads “FRIENDSHIP” in gold text with the date “1775” in gold below, and the letter “F” in gold on each end. The cape likely belonged to a member of the Friendship Fire Company of Wilmington, Delaware, which was founded in December of 1775. In addition to patriotic ideals, early fire companies also lauded altruistic social values, with names like “Good Will,” “Hope,” and “Harmony.”