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Dog Days of Summer
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As I looked around for a blog topic during the dog days of summer, I thought why not focus on dog artifacts in the museum collection? What immediately drew my attention was a group of thirteen watercolor framed paintings of sporting or bird dogs which are beautifully portrayed in their hunting stances.
You might ask why Hagley has paintings of dogs? The answer is that they are part of the 1954 DuPont Museum Collection that established Hagley’s collections. Split into both the museum and library’s collections, it represents the early history of DuPont. The dog paintings specifically were used as advertising artwork which in this case was used to promote the use of smokeless gunpowder for hunting.
These dogs represent the National Field Trial Champions (or the National Bird Dog Championship) from 1896 to 1910. All were Llewellin English setters except for “Manitoba Rap” who was an English pointer.
Well-known sporting artist Edmund Henry Osthaus (1858-1928) was the artist of these paintings. Born in Germany, Osthaus immigrated to the United States in 1883. He became the Chief Instructor for the Toledo Academy of Fine Arts in Ohio and later was promoted to Director from 1886-1893. One of his hobbies was hunting with bird dogs so he was very familiar with them which led to his specialty of painting portraits of setters and pointers in lifelike hunting poses. He was the founder of the National Field Trial Association in 1895 and served as a trial judge. Osthaus began to work for DuPont in the late 1890s and produced hunting dog paintings for their advertising purposes.
DuPont used these paintings in several ways. The best-known example is “The Champions” a highly collectable set of thirteen advertising postcards produced in 1917. All are marked “Shoot DuPont Powders.” The Hagley library has copies of the postcards. [Link](https://findingaids.hagley.org/repositories/2/resources/111) Another use they had was appearing on annual DuPont calendars. The 1898 winner “Tony’s Gale” was on the 1936 calendar; 1899 winner “Joe Cumming” on the 1908 and 1936 calendars; 1909 winner “Geneva” on the 1909 calendar and 1910 winner “Monora” on the 1913 calendar. And they were also used on DuPont envelope covers and lithographs suitable for framing. Much of this was used as customer giveaways to promote their products.
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George May Phelps and the Magic of Smartphones
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Are smartphones magic? As you hunch over your smart phone and scroll through your social media feed, do you ever stop for a moment and think just how in blue blazes does this thing work? Probably not. That is, until it *doesn’t* work.
Thanks to this job, I actually think about it a lot. As I continue opening boxes and cataloging the Rothschild patent model collection, each day I look at these steampunk-like contraptions and try to figure out how they work. I am constantly amazed by the genius of some of these men and women and the lasting impact of those old jumbles of wood and metal.
One of these “magicians” was George May Phelps. I recently discovered that Hagley owns the patent model for one of his most celebrated inventions, the Combination Printer. Not only is it the ancestor to that printer sitting there in your office, but many of the devices so critical to our Information Age owe a debt to its inventor—including that smartphone glued to your hand.
In the age of the telegraph, there were two ways to receive messages: write it down or connect the telegraph to a printer. Trouble was, both used Morse code. At least one trained operator was needed to send and another to translate the message. If the printer was used, another person called a “Grinder” turned a crank that powered the printer. The printers were complicated machines that often broke down, were difficult to repair, and slow and expensive to build.
Phelps fixed all that. An expert machinist that manufactured and assembled those ornery telegraph printers, Phelps was hired by The American Telegraph Company (later part of Western Union) in 1855. They recently bought the rights to a new type of printer and asked him to fix its problems. He took the best of the old machine, some of the new one, and added components of his own. In a rare moment of humility in the Age of Invention, he called it the “Combination” printer thereby recognizing how the other machines influenced his design.
Phelps’ improvements increased the speed, reliability, and durability of the machine. Best of all, no special operators were needed. Instead of Morse code, it used a lettered keyboard, printed in regular type, and its powerful electromagnets could be hooked up to any power source. It sent messages at about 60 words per minute on some of the highest traffic lines in the nation for decades. Even after printing over 5,000 miles of paper, the components showed little wear. One Phelps printer was still working into the 1920s! Do you expect *your* printer to work for 50-plus years?
Phelps is remembered as one of the leading inventors of early communications components. He worked closely with Thomas Edison—even going so far as to build some of his patent models. Besides the telegraph, Phelps’ designs ensured the success of the telephone and the stock ticker. Phelps even set New Yorker’s watches by creating a device that used a telegraph signal to drop a ball mounted on a pole high above the city skyline precisely at noon.
Ta-da!
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