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 presented to Henry K. Woodruff by the Independence Hose Company of New York in 1862. The trumpet is divided into three sections with two rings that allow for a cord to be attached. The trumpet bears an inscription that reads “Presented by Independence Hose Company, No. 3, New York, to Foreman Henry K. Woodruff 1862.” The Independence Hose Company No. 3 was organized on November 19, 1832. Woodruff was the foreman of the Independence Hose Company from 1862 until the company disbanded in 1865.
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.
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 helmet was made by Cairns & Brother of New York, New York in the late 19th century. The helmet is painted white overall, with 16 combs, the four main combs are painted gold. An ivy-vine scrollwork pattern is stamped around the brim of the helmet, and the edge of the helmet is painted gold. The rear brim has a design of crossed hooks and ladders surrounded by a hose and trumpets, with an inset metal frontpiece that bears the inscription “J. McNally by Senate H & L Co. 1, Sing Sing, July 1886.” A metal eagle’s head mounted to the crown of the helmet serves as a frontpiece holder. The crudely-rendered frontpiece reads “CHEIF (sic) ENGINEER/C.F.D.” with a painting of a goose neck, piano-style hand-pump engine in the center. The frontpiece may not be original to the helmet.
Missionary Society of the Methodist Episcopal Church
maker
Currier, Nathaniel
ID Number
DL.60.2929
catalog number
60.2929
accession number
228146
Description
This black and white print is of a life membership to a Mr. Philip J.A. Harper issued by the Missionary Society of the Methodist Episcopal Church. The Society, begun in 1820 and headquartered in New York City, was among the earliest organizations that focused on mission within and outside the United States. It initially worked to convert Native Americans and slaves before extending its activities to inhabitants of West Africa and elsewhere overseas.
A vignette depicting missionary activity appears above the text that was inspired by the Society’s proselytizing during the 19th Century. On the right side is a depiction of Native Americans and Africans who were “saved” due to the preaching of a missionary. The left side shows the damnation that comes to those who fail to hear God’s word. Above the scene floats a triumphant angel sent by God who is blowing a trumpet, Bible in hand.
This print was produced by Nathaniel Currier (1813-1888). Currier was the founder of the company that eventually became the Currier & Ives lithography firm. At the age of fifteen Currier apprenticed with the Pendleton lithography firm in New York City. Five years later he moved to Philadelphia to work with the lithographer M.E.D. Brown (1810-1896). After a year Currier moved back to New York, where he intended on going into business with one of the Pendleton brothers. Instead he formed a partnership in 1834 with Adam Stodart who was in the sheet music business. Within a year he opened his own lithography company on Wall Street and then moved to Nassau and Spruce. In 1852 a bookkeeper named James Merritt Ives joined the firm. He married Charles Currier’s sister-in-law and brought to the firm a critical eye and business acumen. In five years he had become a partner. Currier & Ives would become arguably the most successful and prodigious lithography firm of the 19th century. Although especially well known for prints celebrating American landscapes and pastimes like sailing and ice skating, Currier & Ives also produced lithographs that featured current events, social issues and political controversies
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.
This trombone was made around 1878 to 1882 and sold by the J. Howard Foote Company in New York and Chicago. It is a B-flat tenor trombone, made of silver-plated brass with 3 light piston valves. This instrument has an engraved medallion:
J. H. [lyre] F. NY&C
Brass instruments bearing the medallion of J. Howard Foote were likely made for him by the firm of John Stratton or other factories in New York City.
John Howard Foote (1833-1896) was a musical instrument dealer with shops in New York City and Chicago. This instrument listed in an 1880 J. Howard Foote catalog, sold as a Courtois model tenor trombone (#5145 ½), for $75.00.
This trombone was made around 1878 to 1882 and sold by the J. Howard Foote Company in New York and Chicago. It is a B-flat tenor slide trombone, improved model, made of brass with 3 Sax piston valves. This trombone has an engraved medallion:
J. H. [lyre] F. NY&C
Brass instruments bearing the medallion of J. Howard Foote were likely made for him by the firm of John Stratton or other factories in New York City.
John Howard Foote (1833-1896) was a musical instrument dealer with shops in New York City and Chicago. This instrument listed in an 1880 J. Howard Foote catalog, sold as a tenor trombone (#5142), for $17.00.
This trombone was made around 1878 to 1882 and sold by the J. Howard Foote Company in New York and Chicago. It is a B-flat tenor slide trombone, improved model, made of brass. This trombone has an engraved medallion:
J. H. [lyre] F. NY&C
Brass instruments bearing the medallion of J. Howard Foote were likely made for him by the firm of John Stratton or other factories in New York City.
John Howard Foote (1833-1896) was a musical instrument dealer with shops in New York City and Chicago. This instrument listed in an 1880 J. Howard Foote catalog, sold as a tenor trombone (#5138), for $12.00.
Swan-shaped ear trumpet made of metal with an ivory tip. The form was termed a London hearing dome or grand opera dome.
Ref: Charles Truax, The Mechanics of Surgery (Chicago, 1899), p. 798.
Irving Wilson Voorhees, “Mechanical Aids to Hearing” in Thomas Lathrop Steadman, ed., A Reference Handbook of the Medical Sciences (New York, 1915), vol. 5, p. 45.
Swan-shaped ear trumpet made of metal with an ivory tip. The form was sometimes termed a London hearing dome and sometimes a grand opera dome.
Ref: Irving Wilson Voorhees, “Mechanical Aids to Hearing” in Thomas Lathrop Steadman, ed., A Reference Handbook of the Medical Sciences (New York, 1915), vol. 5, p. 45.
