Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in the eastern United States during the first half of the 19th century. The hat is painted black overall, with the text “HARMONY” arching over the image of a speaking trumpet, all painted in gold on the hat’s front. The painting on the back of the hat has deteriorated, but there are traces of a fire hydrant painted in gold with the text “WE [illegible] TO SERVE” arching above. The owner’s initials “C.P.S.” are painted in gold on the crown of the hat. A speaking trumpet, as seen on this hat, was a necessary tool to shout commands over the noise and disorder of a fire scene. The trumpets became well known as a symbol of authority, and continue to serve as rank insignia in fire departments. The fire hydrant, which is the symbol of the Fire Association of Philadelphia, suggests that the hat may have belonged to a member of the Harmony Engine Company No. 6. Founded in 1784, 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 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 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 around 1870. The helmet has eight combs, and is painted dark blue overall. An ivy-vine design is stamped around the brim of the hat. The frontpiece holder is a small metal figuring depicting a fireman shouting into his speaking trumpet.
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.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
The hat is painted blue overall, with a central image of a flying angel (or alternately an allegorical representation of Fame) blowing a trumpet with a sunburst in the background. The portrait is framed in gold, flanked with banners above and on each side. The name of the original company appears to have been obscured by blue paint in the banners, but there is a paper tag on the inside that reads “THE PROPERTY/HARRY NEEL.”
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.
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 firefight 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.
This necktie was made by “Jane,” undetermined place and date. It is a hand-made necktie made of white fabric with a cream-colored fabric lining. This necktie was previously worn by jazz musician Adolphus "Doc" Cheatham. There are numerous signatures in black ink on the front of the tie, one is dated “85.” There is an embroidered label:
FASHIONED AND HAND MADE BY JANE
Adolphus Anthony “Doc” Cheatham (1905-1997), first learned to play saxophone as well as trumpet. Early in his career, Cheatham performed with the African American Vaudeville theater in Nashville. Around 1924, Cheatham moved to Chicago where he heard trumpeters King Oliver and Louis Armstrong, both would have a lifelong influence on Cheatham’s playing.
Cheatham performed with several jazz musicians including Benny Carter, Fletcher Henderson, and Benny Goodman throughout the 1930s to the 1960s. In the 1970s, Cheatham worked to improve his playing by recording and listening to himself. After the age of 70, Cheatham’s self-assessment work would result in him receiving his best acclamations and critical reviews.
This bow tie was made by Brooks Brothers. It is an adjustable self-tie style bow tie with “thistle” wings, made of blue, white, and red plaid cotton fabric. This bow tie was worn by jazz musician Aldolphus "Doc" Cheatham. There is an embroidered label:
BROOKS BROTHERS MAKERS ALL COTTON ESTABLISHED 1818
This bow tie features U. S. Patent #2125715, dated August 2, 1938, by Claire Goldenberg for an adjustable necktie
and U. S. Patent #2208026, dated July 16, 1940 by Claire Goldenberg for adjustable fastening construction.
Adolphus Anthony “Doc” Cheatham (1905-1997), first learned to play saxophone as well as trumpet. Early in his career, Cheatham performed with the African American Vaudeville theater in Nashville. Around 1924, Cheatham moved to Chicago where he heard trumpeters King Oliver and Louis Armstrong, both would have a lifelong influence on Cheatham’s playing.
Cheatham performed with several jazz musicians including Benny Carter, Fletcher Henderson, and Benny Goodman throughout the 1930s to the 1960s. In the 1970s, Cheatham worked to improve his playing by recording and listening to himself. After the age of 70, Cheatham’s self-assessment work would result in him receiving his best acclamations and critical reviews.