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 toy speaking trumpet was manufactured during the late 19th century. The trumpet has a braided beige cord that is tied to the trumpet next to the mouthpiece and the bell. The plain silver trumpet has a pseudo hallmark stamped into the shaft. British hallmarks served to denote the maker, date, purity of silver, and other information about a sterling silver piece. The mark on this trumpet does not correlate to any known maker, meaning they were likely done by an undocumented American maker to imitate the British marks.
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 trumpet dates to the 19th century. The trumpet has three rounded bounds around its octagonal faceted shaft. Two rings protrude from the side of the trumpet, which are strung with a tasseled blue cord.
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 presentation trumpet was made during the 19th century. The bell of the trumpet is fluted with floral images engraved around it. Just above the bell is an engraving of a steam engine inside a diamond frame. The center section has a diagonal banded design with ladders and floral engravings. Two rings protrude from the shaft of the trumpet that would have allowed a cord to be attached to the trumpet.
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 presentation trumpet dates to the middle of the 19th century. The shaft has a floral design in the shape of an oval frame with an open space in the center for an engraving. The bell has a floral band with four ovals spaced evenly throughout. Two of the ovals have an engraved image of crossed trumpets behind a fire helmet, and two ovals are blank. A braided tan cord is attached to the trumpet through two rings protruding from the shaft.
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 trumpet was presented as a trophy to Thomas Mullen for winning a half-mile foot race during the late 19th century. The trumpet features a raised floral motif, with an engraved image of a hose reel on the bell. The trumpet has two rings that are strung with a braided orange cord with tassels. There is an inset cartouche with the inscription “Won by/ Thomas Mullen/ of Jackson Engine Co./ No. 4/ at the/ Olympic Circus/ Paterson, N.J./ 1/2 mile Foot Race/ Time 2 min. 38 sec.” Fire companies would often meet at community gatherings to compete in a variety of physical contests, including foot races in order to demonstrate their fitness as firefighters.
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 trumpet was awarded to John. A. Johnson of Lafayette Hose Company around 1880. The trumpet has two raised bands with hooks attached to rings that are strung with a red braided cord with tassels. The plain silver trumpet bears the inscription “John A. Johnson, Lafayette Hose Co. No. 22."
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 brass trumpet was used by the Delaware Fire Company likely based in Trenton, New Jersey. The trumpet is painted brown, and the text “Delaware Fire Co./ Organized 1821/ Columbia” has been painted in a cream color on the side.
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 painted tin speaking trumpet was used in active duty during the early 19th century. The horn has been painted white with a red semi-circle on the horn. A black number “1” with a black circle around it has been painted on the shaft of the horn. The bell has gold painted text that reads “Fire Ward/ G.L.S./ Pawtucket/ R.I.”
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 trumpet was presented to George W. Erb of the New York City Fire Department during the second half of the 19th century. The horn is engraved with floral and foliage designs and features an oval cartouche with the inscription “Presented / to / Captain George W. Erb / by the / Ladies of St. Rose's Fair.” Two small fire hats with rings are attached to the shaft, which allowed a cord to be strung from the rings. Erb was promoted to the position of foreman and assigned to the Hook and Ladder Company No. 7 of the New York City Fire Department.
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 brass trumpet was used by the Robert Morris Hose Company, who served in Philadelphia, Pennsylvania from 1837 to 1871. The bell of the trumpet is silver plated and there are three silver bands around the trumpet’s shaft. Two rings are attached to the trumpet’s shaft to allow for a cord to be strung from the trumpet. An inscription on the trumpet reads “Robt. Morris H. Co. 1st line.” Robert Morris was a signer of the Declaration of Independence and a major financier of the Revolutionary War. It was a matter of pride and rivalry amongst the engine companies to be the company that put “first water” on the fire. No doubt the phrase “1st line” is meant to spur the foreman to be the first hose company on the fire scene to attach their hose, also known as a line, to a hydrant and then to an engine, thereby enabling the engine company to put first water on the fire.
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.
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 William H. Wilson of New York, New York during the mid-to-late 19th century. The white helmet has four main combs painted red, with painted gold triangles in each segment. The rear brim has the date “1772”, and the underside of the brim is painted red. A leather eagle-shaped frontpiece holder is attached to the crown of the helmet. The frontpiece has a central image of three crossed speaking trumpets, with the text “Asst./CHIEF” above the trumpets. The painted frontpiece is in poor condition.
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.
This trumpet was made by Wenzel Stowaasers Söhne in Graslitz (Kraslice) in Bohemia around 1873 to 1900. It is a B-flat trumpet made of brass with nickel silver trim, with three rotary valves with mother-of-pearl inlays on the finger levers. This trumpet is engraved:
W Stowassers Söhne Graslitz
Wenzel Stowasser started making brass instruments in 1824 in Graslitz. After his death in 1860, the firm was continued by his sons Josef, Julius, and Richard as W. Stowaasers Söhne.
This slide trumpet case was made by an unknown maker in England, mid-19th century. It is made of dark-stained wood, with metal fittings and handle, and green fabric interior. Accessioned with Pace slide trumpet (MI.76.25).
This trumpet marine was made by an unknown maker, provenance unknown, probably 19th century. It is a composite instrument with a table of spruce with two C-holes, back of seven strips of slab-cut hardwood, grafted walnut neck terminated in a poplar cello pegbox and closed scroll with two volutes, and opaque brown varnish.
The object is composed of unrelated fragments and does not appear to have ever functioned as a musical instrument in this form. However, the grafted neck bears an interesting 18th century violoncello pegbox and scroll fragment. Acquired from the collection of Leopoldo Franciolini in 1892.
Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.
This trumpet marine was made by an unknown maker, provenance unknown, probably 19th century. This is a composite instrument made of a table of spruce, two-piece back of plain fruitwood cut on the slab, grafted hardwood neck is terminated in a hardwood pegbox and closed scroll with three volutes, and opaque brown varnish
The object is composed of unrelated fragments and does not appear to have ever functioned as a musical instrument in this form. The grafted neck bears a crude 18th century cello (or viol?) pegbox fragment and scroll. Acquired from the collection of Leopoldo Franciolini in 1892.
Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.
This kazoo was made by the Kazoo Company, in Buffalo, New York, around 1900 to 1910. It is a trumpet kazoo made of metal. Printed paper instructions are attached to the top of the kazoo. This instrument features U.S. Patent #700986 dated May 27, 1902, by George D. Smith, for improvements in a musical toys or kazoos.
This kazoo was used by William T. Armstrong (1879-1965), orchestra leader and musician in vaudeville and silent film theaters. Armstrong grew up in South River, New Jersey and began playing drums at the age of 14. He continued his musical career through the mid-1910s, after which, Armstrong began work in banking and finance. This artifact is part of a collection of drums, sound effect instruments, and other percussion instruments used by Armstrong.
