|If his legend wasn’t enough during his short life time, it would soon grow larger when in 1854, the first “fictionalized” account of his life appeared in a San Francisco newspaper and a book by John Rollin Ridge. In The Life and Adventures of Joaquin Murrieta.
Ridge portrayed Murrieta as a folk hero who had only turned to a life of crime after a mob of American miners had beaten him severely and left him for dead, hanged his brother, and raped and killed his wife. According to Ridge’s account, Joaquin was a dashing, romantic figure that swearing to avenge the atrocities committed upon his family, committed his many crimes only in an effort to “right” the many injustices against the Mexicans.
According to the tale, Murrieta fled from his claim only to set up a saloon in nearby Hangtown, where miners began to go missing. One by one, the dead bodies of the miners, all who were said to have been part of the killings at the Murrieta claim, turned up with their ears cut off.
After Joaquin’s supposed death, advertising posters were displayed where the head could be viewed, 1853.
|After fourteen miners had been found dead or missing, a Hangtown settler identified Murrieta who fled once again. Before long, he had gathered up his outlaw gang and began to take out his vendetta against the white settlers through robbery and mayhem. However, to his Mexican compatriots he was generous and kind, giving much of his ill gotten gains to the poor, who in turn helped to shelter him from the law.
There is no evidence that Ridge’s version of the tale is accurate; however, similar atrocities were committed on both Mexicans and Chinese who were living in California at the time.
Over the years, the telling of the tale continued to grow until the dead Mexican outlaw began to be called the Robin Hood of El Dorado and take on a symbolized resistance of the Mexicans to the Anglo-American domination of California. And all throughout Gold Country, tales were told of how the outlaw had stayed at this or that hotel, drank in various saloons, and those who claimed to have actually met or was robbed by the man.
As to what happened to Joaquin’s head, it was finally placed behind the bar of the Golden Nugget Saloon in San Francisco, until the building was destroyed by the 1906 earthquake.
|The head itself would become yet a part of another legend – the ghost of Joaquin. Even today, the tales continue of Joaquin’s headless ghost riding through the old gold fields, crying like a banshee – “Give me back my head.”|
1…Deliverance, near West County Line, 12 miles North of Natroma
2…Kill Creek, 8 miles Southeast of Alton
3…Roundmound, 7 1/2 miles Northeast of Natroma
4…Twin Creek, 8 miles South of Osborne
5…Cheyenne, 5 miles North of Luray
1…A payroll shipment was being transported on horseback to the salt mines
at Kanopilas and was hidden during an attack on Lost Creek along the
Old Butternut Trail.
2…An old mill was once located about 12 miles Southeast of Russell on
the Smokey Hill River and was a gathering place for settlers and outlaws.
1…Fay, 5 miles Southeast of Fairport
2…Success, 10 miles North of Bunker Hill
3…Balta, on railroad, 5 miles West of Russell
4…Homer, on railroad, 3 1/2 miles West of Bunker Hill
1…Ohio, 10 miles North of Kensington
2…Hardilee, 6 miles North Northeast of Kensington
3…Tyner, 10 miles North of Athol
4…Reamsville, 13 miles North Northwest of Smith Center
5…Thornburg, 14 miles North of Smith Center
6…Womer, 6 miles North Northwest of Cora
7…Sherwood, East County Line, 8 miles North of Lebanon
8…Anderson, 7 1/2 miles North of Smith Center
9…Hammer, 5 miles South of Smith Center
10..Oakvale, 10 miles South of Bellaire
11..Stuart, East County Line, 8 miles South of Lebanon
12..Oasis, 5 miles East of Harlan.
The small 1849 Colt Pocket “five shooter” put famed gunmaker Sam Colt in business for keeps.
“You gonna pull those pistols or whistle ‘Dixie?’”
Clint Eastwood’s gunslinger famously brushed off a group of Union soldiers with those sneering words—just before he shot all four of them dead. The line was more than a bit reminiscent of the oft-misquoted line Eastwood said in the 1971 movie that catapulted him to fame: “You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya, punk?,” his Dirty Harry character asked the bad guy at the mercy of his Smith & Wesson Model 29 .44 Magnum.
When Eastwood’s character ruthlessly killed those soldiers in 1976’s The Outlaw Josey Wales, he chose as his weapons of death the 1847 Colt Walkers from his belt holsters. It’s not surprising that Hollywood would have him draw Colt’s first six-shooter, as much of the credit for taming the Wild West is usually assigned to six-shooters and big-bore rifles. But had he met those soldiers at a poker table, Josey might have reached into his vest pocket for the little five-shot pocket revolver that played its own part in the saga of the American frontier.
That hideout revolver, the 1849 Pocket Colt, was the most produced of all Colt percussion arms. It also became the best selling handgun in the world during the entire 19th century.
Colt’s First Pocket Revolver
During the 1840s, people had a myriad of single shot pistols to choose from for personal portable protection. These guns varied from huge and cumbersome large-bored horse pistols to miniscule, largely ineffective “coat pocket” handguns. As insurance against malfunctions, some of these pistols were actually designed with auxiliary weapons such as affixed knives or heavy club-like handles.
One of the few repeating pistols offered at the time, the multi-barrelled “pepperbox,” was a popular, but somewhat unreliable gun. Named for condiment canisters, a host of these single-action and double-action pepperbox pistols were produced by manufacturers including Allen & Thurber, Blunt & Syms and the English firm Manton. While some considered the pepperbox pistol one of the best pistols of its time, others saw it as unreliable, inaccurate and sometimes downright dangerous for its possessor. In his classic work Roughing It, Mark Twain claimed that the safest place to be when such a contraption fired was in front of it. A justice of the peace in Mariposa, California, agreed with Twain and actually ruled in an 1852 assault case that an Allen’s pepperbox could not be considered a dangerous weapon.
Lacking a truly reliable pocket-sized revolver, the public clamored for a quality, accurate weapon. Sam Colt, an astute businessman, knew he could fulfill the need. He carefully studied his big and heavy Dragoon revolver and determined that certain features deemed necessary in a large belt revolver could be removed from a smaller pocket-type pistol. In crafting his first pocket revolver, Col. Colt eliminated an estimated 85 of the roughly 480 separate operations required to produce his firm’s belt pistol, the .44 caliber Dragoon, reports P.L. Shumaker in Colt’s Variations of the Old Model Pocket Pistol, 1848 to 1872.
Colt’s first pocket revolver began production around 1847, after the collapse of his Patent Arms Manufacturing Company in Paterson, New Jersey. Now called the “Baby Dragoon,” this 1848 revolver was the predecessor to the 1849 Pocket Model. About 15,000 Baby Dragoons were the first pocket pistols produced by Colt’s facility in Hartford, Connecticut.
Colt offered these .31 caliber pocket pistols as an inexpensive repeating firearm designed to compare more favorably to the single-shot handguns then available. To cut costs, Colt replaced the traditional six-shot cylinder with a five loader. The Baby Dragoon also included a recoil shield but no safety cutout to catch a percussion cap. If a cap failed to ignite its chamber’s main charge, the pistol had to be dismantled to replace that faulty cap.
The model also lacked a rammer assembly underneath the barrel, which made loading a Baby Dragoon a cumbersome process. The shooter had to load ammunition by knocking out the barrel wedge and removing the barrel and cylinder. The shooter then charged the chambers of the cylinder with powder before utilizing the cylinder pin to force a lead projectile into each chamber. Next he fitted percussion caps over the nipples, replaced the cylinder and barrel assembly, and securely fastened the barrel wedge. Lastly, he rotated the cylinder so that the hammer rested over a single cylinder “safety” pin located between two of the chambers on the rear facing of the cylinder.
In spite of these drawbacks, Colt’s new pocket revolver still outperformed other available single-firing and multi-shot handguns in design, quality and function. The public’s approval was overwhelming, and the new little “revolving pistol” was a success from the very start.
Pocket Colt Shoots Out Competition
Public opinion spurred Colt to implement additional changes to the Pocket Colt (the first few had an estimated 150 run). Colonel Colt added a rammer assembly for easier loading and a cutout in the recoil shield so that capping could be accomplished without taking the pistol apart. Other improvements included affixing a roller bearing at the base of the hammer, placing tiny “safety” pins between each chamber, as opposed to just a single pin, and replacing rounded stops cutting into the cylinder with rectangular stops. Colt also lengthened the frame and barrel design, and modified the trigger and guard. The most notable cosmetic change made to the gun was engraving a “stagecoach holdup” scene by rolling it onto the cylinder. (Some early models, however, featured the “Ranger and Indian” fight scene as found on the Dragoon and Baby Dragoon models.) These features constitute what has become known as the standard 1849 Colt Pocket Model pistol.
Produced in a wide variety of configurations and barrel lengths, the 1849 Pocket Model Colt became one of the most famous handguns of its time. It outsold all of the company’s other models as well as those manufactured by competitors. City dwellers in the East mainly purchased the five shooters for travel “insurance” and home protection. But many of these Pocket Colts also went west for California’s Gold Rush.
Initially promoted in California in March 1851, as the “New Pattern…with patent lever,” Colt’s improved ’49er quickly became a favorite with miners, express agents and other argonauts who needed a small pocket revolver. On San Francisco’s Barbary Coast, gamblers sometimes referred to such hideout guns as a “fifth ace.” The demand in the Golden State proved so great that Colt’s factory in Hartford was unable to keep up with the orders. The large belt model Colt, which sold for around $16-$18 each in the East, was selling for as much as $250-$500 apiece in the West. Even the less expensive .31 caliber model commanded prices around $100 on the West Coast. The gun proved to be a favorable alternative for folks who found the heavy Dragoon a bit inconvenient.
Many ’49 Colts made their way overseas. Thanks mostly to Colt’s British agency, the pistol reached ports in Canada, New Zealand, South Africa, Ireland, India and Australia. The demand “down under” was particularly strong due to the Australian Gold Rush of 1853-54. During the American Civil War, soldiers on both sides purchased the pistols with their own funds. They carried the 1849 Pocket models for close combat situations. For decades during the mid-19th century, adventurers worldwide praised these little Colts in the highest terms.
The ’49er was so well-regarded that many expressed their admiration for it by embellishing the Pocket Colt with custom stocks, special finishes, engravings and special gun sights. More non-standard Pocket ’49ers exist than any other model in the world, writes Robert M. Jordan and Darrow M. Watt in Colt’s Pocket ’49, Its Evolution, Including The Baby Dragoon & Wells Fargo. Jordan’s research shows at least 26,000 of the 1849 Pocket models were factory engraved and that more Pocket ’49ers are found in presentation cases than any other gun in the world.
The 1849 Pocket Model Colt may have outshot the competition, but it actually didn’t deliver much of a punch. Fortunately, it didn’t need to. The sidearm was perfect as leverage against a touchy situation. A misdealt card, a mining claim dispute, a defense of a lady’s honor or perhaps
an expedited bank withdrawal might all be eased along through the use of a ’49er. The simple brandishing of the firearm could even elicit the desired reaction.
If fired, the Pocket Colt’s efficacy varied at the whim of several factors not necessarily tied to its load. A .31 caliber round ball, or pointed (conical) bullet, weighs in at around 45 grains of pure, soft lead. With a standard charge of about 15 grains of FFFg (3Fg) blackpowder, this loading is capable of traveling at around 590 feet per second (fps) and hitting with a bit under 35 foot-pounds of muzzle energy. In comparison, a little modern .32 Smith & Wesson, when fired from a short-barreled revolver, develops approximately 680 fps and delivers almost 90 foot-pounds of muzzle thump.
By our current standards, the ’49 Pocket Colt is hardly impressive, but in its time, it could do damage. At close range, the length of a card table for instance, the gun could be dangerous. The soft lead of its bullets had the capacity to frustrate the period medical establishment.
Colt made the 1849 Pocket Model in barrel lengths of three, four, five and six inches. The four-inch and five-inch tubes were the most popular, and the six-inch barreled version appears to be the scarcest model produced. Unloaded, a ’49er weighs from 24 to 27 ounces, depending on barrel length. Sold with a blued barrel and cylinder, the frame and loading lever were color case hardened. Grip straps were generally silver plated over brass, although some were made with blued- or silver-plated iron. Factory standard stocks were of the one-piece varnished, straight-grained walnut variety—typical of commercially-produced period Colts. Custom stocks of select burl walnut, ivory and other materials were offered. On an 1849 model, you’ll likely find one of a variety of barrel roll stampings noting the addresses and places of manufacturing.
Although one of the Pocket Model’s improvements was the incorporation of a loading lever assembly, Colt produced a small number of ’49 models without these additions. Modern gun aficionados nicknamed these three-inch rammerless ’49ers the “Wells Fargo,” yet no evidence supports the claim that the famed express firm ever officially adopted this weapon as a sidearm for its drivers, guards and various agents. Wells Fargo employees certainly did carry ’49 Pocket Colts,
both with and without rammers. Many of these were privately purchased, along with other sidearms.
In any event, the rammerless Colt ’49 never sold well. Sometime around 1860, Colt attempted to sell the remaining inventory of his pocket pistols without rammers by fitting these three-inch barreled revolvers with loading assemblies. These were made by crudely modifying loading levers from the standard four-inch barreled pistols. In spite of this modification, the guns still met with public disapproval as the altered rammer lever made it difficult to apply the proper pressure to the rammer itself. Colt manufactured relatively few of these guns, probably around 100. As such, these factory-modified Colts are extremely desirable pieces with today’s collectors.
During its 23 years of production, Colt’s Hartford facility manufactured about 320,000 Colt Pocket Models, while another 11,000 were produced at the plant in London, England. Production of this handgun finally halted in 1873, when Colt began producing self-contained metallic cartridge revolvers. Despite the transition from cap-and-ball to metallic cartridge arms, Colt’s factory records reveal that percussion model ’49ers were still being shipped as late as 1889. This was especially ironic because the 1849 Pocket Model was one of the caplock revolvers that the Colt factory converted during its first stages of producing metallic cartridge handguns as early as 1869. A Colt employee, E. Alexander Thuer, designed a conversion system that allowed specially designed cartridges to be front-loaded. This little revision legally skirted around the Smith & Wesson-held Rollin-White patent for a drilled-through chamber in the revolver’s cylinder.
A Collector’s Dream
Inevitably, newer and stronger designs in pocket handguns and ammunition pushed the ’49 Pocket Colt to the wayside in favor of more modern arms. Today, the ’49 Pocket Model is considered quite collectible, commanding premium prices among discerning arms collectors. Greg Martin Auctions in San Francisco, California, set a record for the highest price paid at auction for a firearm when it sold a cased, gold-inlaid 1849 Pocket Colt engraved by Gustave Young for a $720,000 bid in 2003.
With the original garnering such a commanding price, it’s not surprising that variations of the 1849 Pocket Colts are still manufactured by Italy’s A. Uberti and Company, the world’s largest replica house, and sold by Cimarron Fire Arms, Uberti (Benelli USA), Taylor’s & Company, E.M.F. Company and Dixie Gun Works. The firms offer the standard four-inch barreled 1849 Model, the so-called “Wells Fargo” model (sans rammer assembly) and the rammerless Model 1848 “Baby Dragoon.” The Pocket models can be purchased from either company in a variety of standard finishes that include dark blue, charcoal blue and the so-called “original” antique patina.
Shooting one of these replica 1849 Pocket Model Colts is a true joy. The attached rammer assembly on Cimarron Fire Arms’ replica of the four-inch barreled version makes loading easy and firing the gun delightful. Unlike the big belt model cap-and-ball six-guns of the age, you won’t hear a booming report or see as much white smoke with each shot. Discharging this little spitfire is rather reminiscent of a small vocal dog. The diminutive wheel gun barks sharply, spitting out a .31 caliber ball with the gusto of a feisty little critter. At close range, say within 25 feet, the accuracy is gratifying. At card table distances, the ’49er is deadly, putting its lead pills right where they are aimed.
After handling and firing this pocket revolver, one can easily see why it commanded such respect among the people of the Victorian era. For its time, the 1849 Colt Pocket Model was a modern and practical pocket gun. And no bluecoat whistling “Dixie” in your face would have stood a chance against it.
Buffalo Bill was born William Frederick Cody on February 26, 1846. He lived until January 10, 1917. Cody grew up on the frontier and loved his way of life. As he got older, some of his titles he earned included buffalo hunter, U.S. Army scout and guide, and showman, as well as Pony Express Rider, Indian fighter, and even author. Whatever Cody’s titles, he was destined for fame.
His track of fame began as with his reputation as a master buffalo hunter. While hunting buffalo for pay to feed railroad workers, he shot and killed 11 out of 12 buffalo, earning him his nickname and show name “Buffalo Bill.” As an army scout, Cody extended his fame by gaining recognition as an army scout with a reputation for bravery. As a well-known scout, he often led rich men from the East and Europe and even royalty on hunting trips. Cody’s fame began to spread to the East when an author, Ned Buntline caught wind of him and wrote a dime novel about Buffalo Bill, called Buffalo Bill, the King of Border Men (1869). To top it all off, Buntline’s novel was turned into a theatrical production which greatly contributed to his success and popularity in the east.
Before long, Cody ended up starring as himself in Buntline’s play. Soon after, he started his own theatrical troop. It wasn’t until 1883 when Cody first got his idea for a Wild West show. That same year, he launched Buffalo Bill’s Wild West show in Omaha, Nebraska. With his Wild West show in hand, nobody could deny Buffalo Bill’s fame. “At the turn of the twentieth century, William F. Cody was known as ‘the greatest showman on the face of the earth’”.Cody had full domination of the Wild West show business.
Out of all of his fame-bearing titles, William F. Cody is most celebrated for being the inventor of the Wild West show. His crown title would be impresario, or manager or producer of Buffalo Bill’s Wild West show. His motivation to produce the show was to preserve the western way of life that he grew up with and loved. Driven by his ambition to keep this way of life from disappearing, Cody turned his “real life adventure into the first and greatest outdoor western show”. Cody did not want to see his way of life vanish without remembrance. Consequently, Cody became the first real Westerner to cash in on the western myth, which others had been writing literature, dime novels, and plays about for some time.
In creating the Wild West show, Cody also created the myth of the adventuresome, exciting, and outright wild western frontier. Cody helped pitch-in to give the West its image as we see it today. The legend he fathered became a permanent part in America’s history and is still present today. He also was the first to establish the format and content of Wild West shows.
The shows consisted of reenactments of history combined with displays of showmanship, sharp-shooting, hunts, racing, or rodeo style events. Each show was 3–4 hours long and attracted crowds of thousands of people daily. The show began with a parade on horseback. The parade was a major ordeal, an affair that involved huge public crowds and many performers, including the Congress of Rough Riders. The Congress of Rough Riders was composed of marksman from around the world, including the future President Theodore Roosevelt, who marched through the parade on horseback.
Among the composition of the show were “historical” scenes. “The exact scenes changed over time, but were either portrayed as a ‘typical’ event such as the early settlers defending a homestead, a wagon train crossing the plains, or a more specific event such as the Battle of the Little Bighorn”. In both types of events, Buffalo Bill used his poetic license to both glorify himself or others while heightening the villainous mischievousness of the “bad guys” (outlaws or Indians) and to embellish each situation for theatrical enhancement. “Typical” events included acts known as Bison Hunt, Train Robbery, Indian War Battle Reenactment, and the usual grand finale of the show, Attack on the Burning Cabin, in which Indians attacked a settler’s cabin and were repulsed by Buffalo Bill, cowboys, and Mexicans.
A more specific historical event in the show might have been a reenactment of the Battle of Little Bighorn also known as “Custer’s Last Stand”. This event was made into a famous act performed in the show, with Buck Taylor starring as General George Armstrong Custer. In this battle, Custer and all men under his direct command were killed. After Custer is dead, Buffalo Bill rides in, the hero, but he is too late. He avenges Custer by killing and scalping Yellow Hair (also called Yellowhand) which he called the “first scalp for Custer”.This reenactment is exciting for the audience and also stresses Buffalo Bill’s importance, as it suggests that were he to ride in on time, Custer and his men may have been saved.
Shooting competitions and displays of marksmanship were commonly a part of the program. Great feats of skill were shown off using rifles, shot guns, and revolvers. Most people in the show were all good marksmen but many were experts. Buffalo Bill himself was an excellent marksman. It was said that nobody could top him shooting a rifle off the back of a moving horse. Other star shooters were Annie Oakley, Lillian Smith, and Seth Clover.
The show also demonstrated hunts executed by Buffalo Bill, cowboys, and Mexicans, which were staged as they would have been on the frontier, and were accompanied by one of the few remaining buffalo herds in the worlds. “People throughout North America and Europe who had never seen buffalo before felt the rush of being in the middle of the hunt.”
Animals also did their share in the show through rodeo entertainment, an audience favorite. In rodeo events, cowboys like Lee Martin would try to rope and ride broncos. Broncos are unbroken horses that tend to throw or buck their riders. Other wild animals they would attempt to ride or deal with were mules, buffalo, Texas steers, elk, deer, bears, and moose. Some notable cowboys who participated in the events were Buck Taylor (dubbed “The First Cowboy King”), Bronco Bill, James Lawson (“The Roper”), Bill Bullock, Tim Clayton, Coyote Bill, and Bridle Bill.
Races were another form of entertainment employed in the Wild West show. Many different races were held, including those between cowboys, Mexicans, and Indians, a 100 yd foot race between Indian and Indian pony, a race between Sioux boys on bareback Indian ponies, races between Mexican thoroughbreds, and even a race between Lady Riders.
All in all, the show had a pretty big entourage. It contained as many as 1,200 performers at one time (cowboys, scouts, Indians, military, Mexicans, and men from other heritages), and a large number of many animals including buffalo and Texas Longhorns. Performers in the show were often popular celebrities of the day. Some of the recognizably famous men who took part in the show were Will Rogers, Tom Mix, Pawnee Bill, James Lawson, Bill Pickett, Jess Willard, Mexican Joe, Capt. Adam Bogardus, Buck Taylor, Ralph and Nan Lohse, Antonio Esquibel, and “Capt. Waterman and his Trained Buffalo”. Even more famous were Wild Bill Hickok and Johnny Baker. Wild Bill Hickok was well known as a gunfighter and as a marshal, and he was also an established dime novel hero, like Buffalo Bill. His name on the playbill gave a great draw of audiences because they knew him from dime-novels, and he was a genuine scout. Johnny Baker was nicknamed the “Cowboy Kid” and considered to be Annie Oakley’s boy counterpart. Cody originally took him on in the show mainly because he would have been the same age as his own dead son, but little Johnny Baker turned out to be a great success, was very skilled and ended up becoming the arena director.
The list of famous Wild West show participants was not limited to men. Women were also a large part of Buffalo Bill’s Wild West show and attracted many spectators. In fact Annie Oakley, one of the show’s star attractions was a woman. Born Phoebe Ann Moses, Oakley first gained recognition as a sharpshooter when she defeated Frank Butler, a pro marksman at age 15, in a shooting exhibition. She became the star attraction of Buffalo Bill’s Wild West show for 16 years, under the management of Frank Butler, whom she ended up marrying. Annie was billed in the show as “Miss Annie Oakley, the Peerless Lady Wing-Shot”. She was also nicknamed “Little Sure Shot” by Chief Sitting Bull, who was also in the show. Annie was renowned for her trick shots. Annie was able to, from 30 paces, split the edge of a playing card, hit center of ace of spades, shoot down a playing card tossed in air, shatter glass balls thrown in air, hit dimes held between Butler’s fingers, shoot an apple out of poodle’s mouth and shoot off the butt of cigarette from Butler’s mouth. She also performed the last trick shooting the cigarette out of Crown Prince Wilhelm’s mouth in Berlin. Her most famous trick was a mirror trick in which she hit a target behind her shooting backwards using a mirror for aim. These incredible feats of marksmanship amazed and excited people and she generated huge audiences eager to see the display.
Calamity Jane (or Martha Cannary) was another distinguished woman participant of the show. Calamity Jane was a notorious frontierswoman who was the subject of many wild stories- many of which she made up herself. In the show, she was a skilled horsewoman and expert rifle and revolver handler. She also claimed to have a love affair with Wild Bill Hickok (and that she was married to him and had his child), which he denied and there is no proof of.Calamity Jane appeared in Wild West shows until 1902, when she was reportedly fired for drinking and fighting. Other mentionable females in the business were Lillian Smith and Bessie and Della Ferrel
Native Americans were also a part of Cody’s show. The Native Americans who took part in the show were mostly Plains Indians like the Pawnee and Sioux. They participated in staged “Indian Races” and historic battles, and often appeared in attack scenes attacking whites in which their savagery and wildness was played up. They also performed talented dances, such as the Sioux Ghost Dance. In reality the performance of the ghost dance meant that trouble was brewing and about to break out, but it wasn’t portrayed as such in the show. The Native Americans always wore their best regalia and full war paint. Cody treated them with great respect and paid them adequately. The extent of his respect was demonstrated when he named the Native Americans as “the former foe, present friend, the American”. Audiences were impressed by the presence of Native Americans in the show because they were extraordinarily “simultaneously exotic and accessible people”.
Native Americans in the show also had their claim to fame, the best known being Chief Sitting Bull. Sitting Bull joined the show for a short time and was a star attraction alongside Annie Oakley. It was said that he only agreed to join the show because he was fascinated with Annie Oakley and Buffalo Bill assured him that if he joined, he could see her perform all the time.During his time at the show, Sitting Bull was introduced to President Grover Cleveland, which he thought proved his importance as chief.He was friends with Buffalo Bill and highly valued the horse that was given to him when he left the show. Other familiar Native Americans names who performed in the show were Chief Joseph,Geronimo, and Rains in Face (who reportedly killed George A. Custer).
Buffalo’s Bill’s Wild West show continued to captivate audiences and tour annually for a total of 30 years (1883–1913). After opening on May 19, 1883 in Omaha, Nebraska, the show was on what seemed to be a perpetual tour all over the east of America. The show “hopped the pond” in 1887 for the American Exhibition, and was then requested for a command performance at Queen Victoria’s Golden Jubilee in 1887 at Windsor Castle, in England. The whole troupe including 200 passengers plus 97 Natives, 18 buffalo, 181 horses, 10 elk, 4 donkeys, 5 longhorns (Texas steers), 2 deer, 10 mules, and the Deadwood Concord stagecoach crossed the Atlantic on several ships. They then toured England for the next six months and the following year returned to tour Europe until 1892. With his tour in Europe, Buffalo Bill established the myth of the American West overseas as well. To some Europeans, the Wild West show not only represented the west, but all of America. He also created the cowboy as an American icon. He gave the people of England, France, Spain, Italy, Belgium, Netherlands, and Germany a taste of the wild and romantic west.
In 1893 the show performed at the Chicago World’s Fair to a crowd of 18,000. This performance was a huge contributor to the show’s popularity. The show never again did as well as it did that year. That same year at the Fair, Frederick Turner, a young Wisconsin scholar, gave a speech that pronounced the first stage of American history over. “The frontier has gone”, he declared.
The Wild West on Film – Actual Footage of Buffalo Bill and Annie Oakley by Thomas Edison
The Lussiure New of England predicted “The Business will degenerate into the hands of men devoid of Buffalo Bill’s exalted simplicity, and much more eager to finger the shillings of the public than to shake the hand of Mother Nature.” By 1894 the harsh economy made it hard to afford tickets. It did not help that the show was routed to go through the South in a year when the cotton was flooded and there was a general depression in the area. Buffalo Bill lost a lot of money and was on the brink of a financial disaster. Soon after, and in an attempt of recovery of monetary balance, Buffalo Bill signed a contract in which he was tricked by Bonfil and Temmen into selling them the show and demoting himself to a mere employee and attraction of the Sells-Floto Circus. From this point, the show began to destroy itself. Finally, in 1913 the show was declared bankrupt. “Cody was forced to take his tents down for the last time”.
Western shows “generated a passion for Western entertainment of all kinds.”This passion is still evidenced in western films, modern rodeos, and circuses. Western Films in the first half of the 20th century filled the gap left behind by Wild West shows. The first real western, The Great Train Robbery was made in 1903, and thousands followed after. Contemporary rodeos also still exist today as major productions, still employing the same events and skills as cowboys did in Wild West shows.
Posted: Sunday, February 7, 2016 11:00 pm |Updated: 11:57 pm, Sun Feb 7, 2016.
Another photo said to be of the famous outlaw Billy the Kid — showing a young man posing on a rock, holding one pistol in his right hand and another in his holster — surfaced last week.
It is still unauthenticated and lacks provenance.
But like all the other purported Billy the Kid photos, this one has an interesting backstory.
Two Gun Billy is one of nearly 500 photos in an Old West collection believed to have been owned by Frank Phillips, the founder of Phillips Petroleum.
The photos are now owned by an unidentified couple who traveled in the 1990s to Checotah, Okla., where they stopped at an antique store called the Downtown Antique Mall. The woman, who is an artist, purchased several photos from the store to use in painting profiles.
Both she and her husband are Western enthusiasts and, after comparing the photos to those in their books on the Old West, they went back to the antique store the next day, and the day after that, and spent a few hundred dollars on the collection.
The couple believe that 100 of the photos depict people involved in the O.K. Corral shootout, their family members and others from Tombstone, Ariz.
Because there were photos of Phillips and his family among those the woman purchased, she and others who have examined them concluded that they once belonged to Phillips, whose 3,700-acre ranch in northwestern Oklahoma, called Woolaroc, was only 100 miles away from where the photos were purchased. And the property was adjacent to land frequented by outlaws. The photos came to be known as the Phillips Collection.
Jim Williams, a Western antique dealer with a shop in Springfield, Mo., was hired by the couple to help authenticate the photo called Two Gun Billy and market it. Cathy Briley, Williams’ fiancée, a real estate appraiser and collector of antiques from Palmyra, Neb., said they immediately felt the albumen print was of Billy the Kid.
They didn’t have the resources, Briley said, to hire people with the software to do facial recognition — and besides, they were unsure if it would work because the photo shows the Kid in profile. But they did decide to try to find the location where the photograph was taken, and they were pretty sure the landscape depicted New Mexico.
They came here in December, after studying Google Earth images for weeks and weeks. In New Mexico, everyone gave them different opinions. They failed at first and spent the night in Ruidoso before driving home.
It was there when Briley had an idea that the photo might have been taken at the time of the shootout at Blazer’s Mill between the Lincoln County Regulators and the buffalo hunter Buckshot Roberts. The Regulators apparently were hunting down anyone associated with the murder of John Tunstall, which had set off the Lincoln County War. The confrontation took place three days after the shooting of Sheriff William Brady, a crime for which Billy the Kid was convicted in 1881. The Regulators, including the Kid, were supposedly in Blazer’s Mill to eat at Mrs. Godfrey’s Restaurant.
The connection hit Briley, she said, “like a ton of bricks.”
They now believe the photo was taken on a hillside between Lincoln and Tularosa overlooking a 19th-century village called South Fork. The area subsequently became part of the Mescalero Apache Indian Reservation. Williams and Briley believe the photo was taken April 3, 1878, the day before the shootout.
Williams went back to New Mexico and on Jan. 20, Briley said, he found the rock overlooking South Fork on which the Kid had been posed, and matched up the mountains in the background as well as old Indian trails.
Briley said the face looks identical and the body type and size are “perfect” when compared to the authenticated tintype of Billy the Kid purchased by billionaire William Koch for $2.3 million in 2011 at an auction in Colorado.
Furthermore, the figure is wearing patterned suspenders and an unadorned sombrero, and is pictured with the types of guns Billy was known to carry. There’s a bandana wrapped around his leg above his right knee, which could be related to injuries sustained in the Brady ambush, Briley said.
In Koch’s tintype, the Kid looks sloppy, but in this photo, his tie is tucked into his shirt and, according to Briley, he was known as a “snappy dresser.”
Briley said she has seen another photo that surfaced in recent years — one said to show the Kid playing croquet in New Mexico in 1878 — and the National Geographic program that aired about the photo last year. In that case, the photo was bought by a California man for $2 or so from a Fresno County memorabilia shop.
She believes that photo is of the Kid, but she conceded many photos claimed to be of him don’t get received very well. “They get a lot of negative response,” she said. “Western enthusiasts immediately deny them if there’s no provenance attached to the photo.”
So, she said, even though “I do think our photos are the genuine article … we are fighting an uphill battle.”
But that doesn’t stop people who think they have the real deal, she added. “We’re just going to be inundated with photos because people are seeing dollar signs.”
Briley said several photos from the Phillips Collection already have been sold, including those of outlaw Belle Starr and lawman Wyatt Earp’s brother James, and one of Earp himself in a forest with several other people. Two of those were bought by Williams and resold. There are two other photos of the Kid in the Phillips Collection, Briley said.
The original Oklahoma vendor, however, had no idea of their value, she said. Online, Briley called the collection “likely one of the largest historical finds in recent history.”
But Daniel Kosharek, photo curator at the Palace of the Governors Photo Archives in Santa Fe, said the number of Kid photos cropping up is getting to be “almost as bad as Elvis sightings.”
“This one is a pretty good stretch,” he said of Two Gun Billy.
Korsharek said there are many photos that could show the Kid, and even in the Museum of New Mexico collection, he said, he could probably find a half-dozen tintypes that could be of the famous outlaw.
Contact Anne Constable at 505-986-3022 or firstname.lastname@example.org.
World famous treasure hunter Floyd Mann shares with the AHRF his insights on a billion dollars worth of treasure that was scattered across the United States by A secret organization called the Knight Of The Golden Circle or KGC for short. This group of confederate sympathizers refused to accept the terms of the surrender and started making plans for the south to rise again. But they needed a great amount of money to support a 2nd civil war. So they started collecting, robbing and stealing money, gold, silver, jewelry, arms and ammunition. They buried it around the country in old mining tunnels, pits and holes that they dug. They assigned armed sentries to protect this loot from being found. But by the time they had amassed enough fortune and supplies to fund their second civil war, World War One broke out an ended their plans by uniting the country. Also, most of the KGC had died off by then anyway. But the treasures they buried, which some have estimated to be worth billions if not trillions of dollars, is the stuff that dreams are made of to treasure hunters. Floyd shares some clues as to where to look, what to look for and where to go to get more information.
FORT SUMNER, N.M. (KRQE) – A flea market treasure could mean big things for New Mexico’s history. A North Carolina man believes he may have a photo of Pat Garrett and Billy the Kid.
Frank Abrams traveled all the way to New Mexico to learn more about an old tintype he purchased years ago. KRQE News 13 followed Abrams to Fort Sumner, New Mexico to try and get to the bottom of this historical mystery.
Billy the Kid’s legend lives on more than a century since his reported death.
“I knew only Billy the Kid from the movies,” Abrams chuckled. But the North Carolina attorney is learning much more about the western outlaw, especially since he may have a photo that could blow the lid wide open on a piece of history.
“The holy grail might exist,” Abrams told KRQE News 13.
Abrams spent $10 on an old tintype at a North Carolina flea market years ago. He said it was the rough looking cowboys that caught his eye.
The tintype sat hanging in a guest room for years.
Recently, the newly-verified photo of Billy the Kid playing croquet, now appraised at $5 million, got Abrams thinking.
“After I Googled Billy the Kid, I said ‘oh my gosh, he looks like Pat Garrett!” Abrams recalled. “And that’s what got it started.”
Legend has it Billy the Kid was killed by Lincoln County Sheriff Pat Garrett in July of 1881.
Convinced his photo shows Garrett possibly with the Kid, Abrams brought high resolution images of his tintype to meet with local experts.
“The improbability of this situation is such that I need to find out,” Abrams told KRQE News 13.
Abrams and his wife flew to New Mexico, then hit the road to Fort Sumner, home to the Billy the Kid museum and his reported gravesite.
Inside the museum’s walls are rare pieces of history, including Billy the Kid’s gun, his wanted poster, and dozens of old artifacts.
Tim Sweet is the museum’s owner. “The first thing when I looked the photograph, the first one that stood out to me was Pat Garrett,” Sweet told KRQE News 13.
Sweet said he’s 95-percent convinced the man with the mustache in Abrams’ tintype is Pat Garrett.
“If this is the real deal, Frank has got a jewel right here,” said Sweet.
Finding out who the other men are and why they were together is key. Sweet believes if the tintype is a photo of Billy the Kid, it may have been taken when Garrett and a crew took him to be arraigned, and before Billy’s escape.
Sweet said the capture was cause for celebration. “All of them are smoking cigars,” Sweet pointed out.
There are other features that have him thinking. Abrams points out a defined Adam’s apple on the man he believes to be Billy the Kid, compared to the known photo of the Kid. Both photos show a pronounced Adam’s apple.
Still, Sweet said more research is needed, and more experts need to analyze the tintype.
Sweet, along with local historians, would be curious to figure out why Garrett would have taken a picture with Billy the Kid and when.
If Abrams does have a photo of Billy the Kid and Pat Garrett, Sweet said, “I think it just proves what took place.” It would be the first photograph of the two together, which Sweet admits would be “big.”
Either way, Abrams said his first trip to New Mexico, and the adventure this photo has led him on, is worth it.
“I’m going to do whatever is necessary to find out,” Abrams told KRQE News 13. “This picture would clear up a lot of mysteries, historical mysteries. The truth is the key.”
It took a team of experts more than a year to authenticate the second-known photo of Billy the Kid playing croquet. Abrams said he’s in it for the long haul to get to the truth.
A rare coin dealer in California has concluded that a grainy image of legendary gunman Billy the Kid playing croquet is the real thing and could be worth as much as $5 million.
That is not bad for a photo purchased by Randy Guijarro of Freemont, Calif. for $2 as a part of a miscellaneous lot at a Fresno junk shop in 2010, according to Kagin’s. The company is negotiating a private sale of the photo.
“We have a couple of people who are interested right now,” Kagin’s senior numismatist David McCarthy told FoxNews.com said.
The 4×5-inch tintype – which depicts Billy the Kid and several members of his gang, The Regulators, relaxing in the summer of 1878 – will be the subject of a two-hour documentary airing Sunday on the National Geographic Channel.
Taken just one month after the tumultuous Lincoln County War came to an end, it offers a rare window into the lives of these gunmen. Rather than a threatening outlaw, Billy the Kid seems to be enjoying some downtime following what Kagin’s said was a wedding.
The only other known photograph of Billy the Kid is a portrait of the outlaw taken in Fort Sumner, NM in 1880. It sold for $2.3 million to Palm Beach, Fla., businessman William Koch in 2011 at Brian Lebel’s Annual Old West Show and Auction in Denver. In that photo, Billy is packing a Colt revolver and trademark 1873 Winchester carbine rifle.
When they first got hold of the latest image, McCarthy said they weren’t sure it was authentic adding that “if you do an Internet search, there will be 20 people who have a photo of some guy that looks like Billy the Kid.”
“When we first saw the photograph, we were understandably skeptical – an original Billy the Kid photo is the Holy Grail of Western Americana,” Kagin’s senior numismatist David McCarthy said, in a press release.
“We had to be certain that we could answer and verify where, when, how and why this photograph was taken. Simple resemblance is not enough in a case like this – a team of experts had to be assembled to address each and every detail in the photo to insure that nothing was out of place,” he continued. “After more than a year of methodical study including my own inspection of the site, there is now overwhelming evidence of the image’s authenticity.”
McCarthy said experts began believing the tintype was real after they were able to determine that four people in the photo – using facial recognition software – were those who spent time with Billy the Kid. Then, they began looking for events in which they were all together around that time.
They stumbled upon a diary of Sally Chisum, in which she described a cattle drive featuring all the players in the photo as well as a wedding that took place between Charlie Bowdre (seated on the horse in the photo) and his wife Manuella.
The cattle drive helped researchers narrow the location of the photo to New Mexico and the former ranch of one of Billy the Kid’s employers, John Tunstall. But to confirm the site of the photo, McCarthy actually flew out to the site near Roswell and examined a building that turned out to have been built “over and around” a structure that was actually in the photo.
“I was standing at an angle from the building and I could see the texture of the stucco on the front of the building,” McCarthy said, adding they were tipped off by an investigator who saw what the thought was a building from the photo on ranch. “You could see the vertical wooden supports through the stucco and I
looked at the picture and they were in the exactly the same place. I was amazed. That clinched it.”
Kevin Costner will narrate and produce the two-hour documentary for National Geographic Channel, covering Western Americana enthusiast Randy Guijarro’ s odyssey to authenticate this unique photograph. The documentary will also feature extensive interviews with a variety of experts in digital facial
recognition, antique photography, geographic positioning, and vintage croquet sets.
“The historical importance of a photograph of Billy the Kid alongside known members of his gang and prominent Lincoln County citizens is incalculable – this is perhaps the single most compelling piece of Western Americana that we have ever seen,” Kagin’s President Donald Kagin said, in the press release.