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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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Seth Green’s Patent Model Hatched a New Industry in North America
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Cataloging the patent model collection continues to be an interesting journey. A remarkable object crossed my desk earlier this month: Seth Green’s patent model for a Device for Hatching the Spawn of Fishes. Excuse the pun (or don’t), but this model allowed me to dive head first into the world of *pisciculture*: the controlled breeding and rearing of fish.
Seth Green, known today as the “Father of fish culture in North America”, was born on March 19, 1817 in Rochester, New York. As a young man he struck up friendships with the nearby Seneca Native Americans, who taught him about hunting and fishing. With a profound respect for nature instilled in him, Green learned about the lifestyle of fish through diligent observation.
Through his observations, Green realized that fish were not a limitless resource. For this reason, he dedicated much of his life to ensuring the rivers of New York State were restocked with fish for market and sporting purposes. His first endeavor was a fish market in Rochester, which he stocked by fishing the shores of Lake Ontario. During these fishing trips he observed the spawning of Atlantic salmon.
That observation set him off on a path to open his own hatchery in Caledonia, New York. He worked to propagate salmon and brook trout at first, but then in 1867 moved on to other species such as American shad. That same year is where our patent model comes in: his Device for Hatching the Spawn of Fishes (Patent No. 68,871).[Patent Link](https://patents.google.com/patent/US68871A/en?oq=us68871) Green says in his patent document that the apparatus “should be anchored in a current, for shad, but may be anchored in still water for certain other varieties of fish, and for frogs… The case must be open after dark, for shad, as the smaller fish which would take the young shad only feed during the day. This gives the young shad an opportunity to take care of themselves as nature dictates.”
Concurrently, Seth Green became the first New York State fish commissioner, working alongside Robert B. Roosevelt and Horatio Seymour. The trio worked together to create a regular restocking program for the state, using fish from Green’s Caledonia hatchery. But Green’s efforts weren’t just concentrated to New York State. He introduced shad down the East Coast as far as the Savannah River in Georgia, and even sent 12,000 shad to the Sacramento River in California.
Green passed away in 1888, but his name still lives on through the hatchery in Caledonia, which was listed on the National Register of Historic places in 2015. You can visit his grave in Mount Hope Cemetery in Rochester, where you can also find the resting places of Susan B. Anthony and Frederick Douglass.
[Seth Green](https://en.wikipedia.org/wiki/Seth_Green_%28pisciculture%29#:~:text=Seth%20Green%20%28March%2019,%201817,Town%20of%20Caledonia,%20New%20York.)
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The du Pont Story on a Hooked Rug
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Many times, people have asked me what my favorite artifact in the collection is. But I have too many to just give one. Here is one of my favorites. This artifact is an incredible work of art. Not only is this magnificent, hooked rug visually interesting, it combines both of our collecting areas admirably. It represents important icons from the history of the du Pont family in America and was made from DuPont Company’s nylon.
The artist who designed and made this rug was a du Pont who was a direct descendent of Eleuthère Irénée du Pont, the founder of the DuPont Company. Born Nancy du Pont Reynolds (later Mrs. Edward W. Cooch, Jr.), she began making this rug in her late 20s. It was intended for use in a house but ended up in storage where it remained until it came to Hagley.
The process began by her drawing the pattern you see below and determining what kind of material to make the rug out of. Typically, hooked rugs were made from wool, but she decided to use nylon instead. Introduced to the public in the late 1930s, by the late 1940s DuPont chemists were exploring new uses for nylon including for carpets and rugs and this had great appeal to her. It was so new that all colors in the rug had to be customed-dyed using experimental dyes to her color specifications. This is probably the only hooked rug made from nylon. Ultimately nylon turned out to be a poor choice even though the colors are as brilliant as they were when new. But in limited active use, the rug began to fray and pill on the surface when it was walked on and there is evidence of that on the rug.
The rug depicts the history of the du Pont family and the DuPont Company in America. Each image shows a time, event, invention or symbol in the du Pont story. The design centers around the “American Eagle which was the ship that brought E. I. du Pont and his family to America. He later founded the DuPont Company. The date 1800 indicates the year they arrived in America and 1950 represents their 150th anniversary. Images include buildings on the Hagley property such as the barn and first office towards the top and a gunpowder roll mill on the Brandywine River on the lower right side.
Mrs. Cooch was an artist and I believe this is her masterpiece! One of the most amazing things she told me was that she started it in the middle and worked her way out to the edges. After she finished almost half the rug, she discovered a mistake and pulled everything out and started over again! Remarkable!
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What The Ban-Lon?!
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One of the craziest things about working in a museum is that you never quite know what you will be doing from one day to another. Sometimes this fact can be frustrating – like when you realize that there is water leaking somewhere where water should not be leaking. But, other times, it can be fascinating, and force you to learn about things you never knew you wanted to know about!
A month or so ago I received an email inquiring whether the museum would like to acquire a Ban-Lon men’s shirt. Some of my audience right now may already know about this material – and how I wish I could see your reactions through the screen! But if you are like me (a 30-year-old who had never heard of this product before) let me fill you in on Ban-Lon.
In 1954, Joseph Bancroft & Sons [Link](https://www.hagley.org/research/digital-exhibits/joseph-bancroft-sons) created a synthetic yarn, called Ban-Lon, by crimping yarn to Nylon. This created a fabric with a larger bulk than with just ordinary yarn alone. The synthetic fabric was used to make polos, sweaters, swimsuits, and even wedding gowns. Surface level, it seems like the most versatile product on the planet!
Hagley Library’s Digital Archives is a virtual treasure trove of advertisements for Ban-Lon. It was marketed to be as soft as a kitten and extremely flattering to the figure. [Link](https://digital.hagley.org/1972430_0574?solr_nav%5Bid%5D=72c5e374e866ce67890e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0)
Ban-Lon was popularized further when Joseph Bancroft & Sons sponsored the Miss America pageants from 1953 to 1957. During those years, the crowned Miss America promoted a variety of Ban-Lon pieces, like the lace pageant gown here: [Link](https://digital.hagley.org/1972430_0598?solr_nav%5Bid%5D=b3f07e9dd837cdcf704a&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0)
However, people outside of the advertising and pageant world seem to have other, shall I say, strong opinions on the fabric. I have seen it called a hot, snagging, “evil material” that is wildly unforgiving. And, if you are a Seinfeld fan – you may remember a certain episode where Frank states, “I wouldn’t be caught dead in Banlon.” Kramer proceeds to simply shake his head at the very thought of it.
So, how do you remember Ban-Lon? A miracle or a misfortune?
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Air Gas Machines
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Of the hundred or so patent models I have cataloged, the most common type I encounter are carbureting or “air-gas machines”. What’s an air-gas machine and why were so many inventors submitting them for patents? Like many inventions, its genesis lies at that intersection of a public need, potential for profit, and making something out of some useless stuff just lying around.
For centuries, folks depended upon lamps and candles for illumination. These methods were dim, unreliable, and dangerous. As the industrial economy spurred the growth of factories and concentrated the population into cities, the need for artificial light skyrocketed. With such a demand, and big contracts to supply lighting to entire cities, inventors competed to find a better solution.
The original solution was gas (the kind you cook with). Factories called “gas works” burned coal in enclosed ovens to create “coal gas” or “town gas”. This illuminating gas was piped into street lamps and lighting devices in homes and businesses.
But building gas works and laying all the piping was slow and expensive. Highly-populated areas, business and shopping districts, and affluent neighborhoods were the first to receive gas service. What about working class neighborhoods, side streets, and rural areas outside the big cities? Inventors explored how to make gas cheaply in one stand-alone machine—sort of like a gas generator.
The first obstacle was finding a fuel source. Inventors could not scale down the process of burning coal to produce gas. They began experimenting with new and inexpensive alternatives.
By the 1860s, kerosene derived from oil recently discovered in Pennsylvania became widely used as a fuel for lamps and lanterns. But there were other distillates from the process of making kerosene for which no one could find a use. Two of these were naphtha and gasoline. If kerosene produced light, what about gasoline or naphtha?
This is where air-gas machines enter our story. Inventors discovered that if volatile liquids like naphtha or gasoline were mixed with air, the result was an illuminating gas. By the 1870s, over a hundred companies in America were working on bringing this process to the marketplace. The resulting technology provided artificial lighting for streets, buildings, and even some homes until electricity became widely available.
Of the handful of machines I cataloged, two stand out. They were submitted a year apart by Boston inventor Warren A. Simonds. And they are beautiful machines! One used rotating pierced metal globes to spray naphtha in the air. The other used tiny buckets attached to a rotating conveyor belt. Simonds must have believed his process would be highly profitable as he spared no expense in producing two attractive and elaborate models.
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Louise du Pont Crowninshield and What She Collected
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From the 1930s to her death in 1958, Louise du Pont Crowninshield was one of the leaders of the Historic Preservation movement. In 1949, she was one of the founders of the National Trust for Historic Preservation. Additionally, she was a member of the five-person Advisory Committee to redecorate the White House during the Truman Administration.
Louise served on the boards of directors and financially supported many historic sites such as Marblehead Historical Society (MA), and Saugus Iron Works National Historic Site (MA). Her specialty was acquiring correctly dated antique furnishings and then install them herself into period rooms which is what she did in Virginia at Kenmore – the home of George Washington’s sister and Wakefield – George Washington’s Birthplace. For her to do this curatorial role was innovative at the time since generally this was done by men at historic sites.
Born in 1877, Louise was a descendent of Eleuthère Irénée du Pont, the founder of the DuPont Company. She married Francis Boardman Crowninshield in 1900. After the original Eleutherian Mills gunpowder manufactory closed, she acquired the property which included E. I. du Pont’s home which had been built in 1803. She and her husband occupied the residence for approximately six weeks each year split between the spring and fall. At her death, this property, residence, and all its contents which consist of more than 3,000 artifacts, were left to the Eleutherian Mills- Hagley Foundation.
Louise carefully curated the furnishings in the Residence just like she did the other sites. Her philosophy for Eleutherian Mills Residence was:
**“In selecting furniture, I bought only objects which had been in use in this country at the time the family arrived from France. Everything is authentic and made in America. Some of the family pieces have been given back to me and have been carefully listed. All, or nearly all, I hope will remain in the house. It is my intention to leave them there.”**
When word got out that she wanted to return original furnishings to the Residence, she was given decorative arts including furniture and personal belongings such as clothing from the first two generations of du Ponts who lived there. Among this items are the four-poster bed made by Philadelphian Joseph Barry that E. I du Pont purchased around 1807 and his daughter Victorine’s Duncan Phyfe sewing/worktable which was given to her on her marriage to Ferdinand Bauduy in 1813.
For herself, Louise purchased early American furniture; Chinese Export, French, English and American ceramics; pewter; chalk ware; quilts, hooked rugs; weathervanes, and lots of items representing eagles.
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