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.
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.
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 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.
This cross-shaped emblem has a central hole with a rim surrounded by a hose. Various fire fighting instruments are depicted around the hole including a hook and ladder, axe, speaking trumpet, and fire hat. This was not an engine plate, but rather could have been part of a memorial or commemorative display with a photograph in the center hole.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The People's Insurance Company, New Orleans, Louisiana issued this fire mark around 1871. The shield-shaped brass mark has a central image of a fireman with trumpet in hand. The fireman’s pose is similar to the one taken by the subject in the Currier and Ives print, “The American Fireman: Rushing to the Conflict.” There is text around the mark that reads “THE PEOPLE’S/INSURANCE.” The People’s Insurance Company operated from 1871 until 1887.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen’s Insurance Company of Pittsburgh, Pennsylvania issued this fire mark in 1851. The mark is a cut-out image of a fireman wearing a hat and cape. The fireman is next to a fire hydrant, using a speaking trumpet, with a wrench in his hand to open the hydrant. The fireman is standing on a crescent shaped base that has raised text that reads “FIRE COMPANY.” The mark is painted reddish-brown. The Associated Firemen’s Insurance Company operated from 1850 to around 1857.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen’s Insurance Company of Pittsburgh, Pennsylvania issued this fire mark in 1851. The mark is a cut-out image of a fireman wearing a hat and cape. The fireman is next to a fire hydrant, using a speaking trumpet, with a wrench in his hand to open the hydrant. The fireman is standing on a crescent shaped base that has raised text that reads “FIRE COMPANY.” The mark has trace amounts of gold paint. The Associated Firemen’s Insurance Company operated from 1850 to around 1857.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen's Insurance Company of Baltimore, Maryland issued this fire mark in 1848. The cast iron oval mark has a raised central image of a fireman rushing to a fire blowing a trumpet and holding a burning brand. The background of the mark has been painted gold, and the fireman and raised border has been painted brown. The Associated Firemen's Insurance Company operated from 1847 until 1899, when it was absorbed and reinsured by the Fidelity Fire Insurance Company of Baltimore.
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Associated Firemen's Insurance Company of Baltimore, Maryland issued this fire mark in 1848. The cast iron oval mark has a raised central image of a fireman rushing to a fire blowing a trumpet and holding a burning brand. The Associated Firemen's Insurance Company operated from 1847 until 1899, when it was absorbed and reinsured by the Fidelity Fire Insurance Company of Baltimore.
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 engine panel painting likely belonged to the Globe Engine Company No. 30 of Kensington, Philadelphia, which was founded in 1820. Originally organized as a hand engine company, it acquired a steam fire engine in 1863 and operated as the Globe Steam Fire Engine Company of Kensington until 1871 when Philadelphia’s paid firefighting department was established. The painting is attributed to John S. Brewer and dated to around 1834.The painting depicts two firemen rescuing a distressed woman from a house fire. The firemen are wearing their fire hats and capes, and one is carrying a speaking trumpet used to amplify his instructions to the company. The painting was meant to emphasize the firemen’s masculinity and heroism. This painting and its companion piece (object 2005.0233.0313) 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 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 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 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.
A blank version of the James Gordon Bennett Medal in a leather case originally presented to a deserving firefighter of the city of New York through the Board of Trustees - T. Bailey Mason and others. The obverse of medal shows Neptune coming out of the sea on a shell, pulled by a horse, handing a key to a female figure (possibly Fame) holding a speaking trumpet and standing on a cliff edge. Her feet are surrounded by a fire hose, a bucket, a hook, and a ladder. With her left hand, which holds the trumpet, she gestures toward a steam engine pulled by horses in the far right background. Steam and/or smoke borders the right edge of the medal. A winged figure representing Fire, who holds a torch in each hand, is vanquished at the bottom below the cliffs.
The reverse of the medal is inscribed on the outer border: "ENDOWED BY A FUND CONTRIBUTED BY JAMES GORDON BENNETT." Inside this inscription is a wreath of leaves, with a crossed axe and trumpet with ribbon at the bottom. Inside is the inscription: "PRESENTED / to / [blank space] / IN APPRECIATION OF / MERITOUS PERFORMANCE / OF DUTY AS A FIREMAN / [blank space] / TRUSTEES" There are two spaces left blank for further engraving of the name of the individual to whom this medal would be presented.
The medal is in original case, made of leather and lined with green velvet. The exterior of the case is brown, and inscribed in the top in gold lettering is: "T. Bailey Meyrs. / Trustee of the Bennett Medal" A decorative gold medal band is painted around the exterior of the box.
Color print of firemen pumping water from a fire engine. The foreman or chief engineer stands on the engine giving orders with a speaking trumpet while another fireman climbs a ladder against a burning building carrying the hose in the background.
This marker was used by the Franklin Fire Company of Chester, Pennsylvania. The company was founded on November 20, 1867 and incorporated February 22, 1869. Franklin was Chester's first fire company, located on Mary St. and Concord Ave. The marker consists of a round central portion whose rim is made of a hose, a crossed hook and ladder in the middle and a fire helmet flanked by a firefighter’s speaking trumpet and axe. A banner in the center bears the text “F CO 1.” The top arc reads “FRANKLIN” and the bottom arc “CHESTER PA.” The lack of holes for attachment to an engine points to this marker not being an engine plate, but rather a grave marker or flag holder.
Cast, spade-shaped trivet composed of firefighting equipment, including a hose for the edge that ends in crossed nozzles above a fire hydrant for the handle, "F" and "D" in heel corners next to two angled parade torches, a fire helmet and two crossed speaking trumpets at center, and a helmet badge at toe numbered "50" and "N.Y.F.D. / 7" above a low-relief depiction of a fire pumper. Three peg legs. No railing. No marks.