There are times when you can look at a gun and know it has a story or two to tell. Guns that have earned their own name increase this likelihood exponentially. Take some famous examples, such as "The Hand of God" in the movie 3:10 to Yuma or Davy Crockett's "Old Betsy." Of course, this practice of naming weapons is not new, with references extending as far back as Thor's hammer Mjölnir and Beowulf's sword Naegling. Even in antiquity folks had a fondness for high-performing weapons that had gotten them through some tight spots.
The cased and silver plated Colt 1849 pocked of this article seemed destined to offer such services. Its silver finish beckons to the viewer - seldom does a revolver that can view its sesquicentennial in the rear view mirror possess such a lustre. Just like a bass tracking down a spinner bait, the shiny parts get the attention and draw you in, but this gun sets the hook deep when collectors see the numerous inscriptions on the prized revolver.
Not many people today know the name of Ira A. Paine. No further proof of that fact is needed in this information age than when the man doesn't even have his own Wikipedia page. Now that's obscure! He has no biography, official or otherwise, and few readily available materials exist on the man outside of a handful of early 20th century articles of his contest results and his eventual obituary. Even information as basic as the man's middle name is disputed (Anson? Albert? Abner?). Unsung as Ira Paine is today, he was far from some nobody off the street. In his day, he was nicknamed, "The Master Shooter of the World" and "King of the Pistol." His feats with rifle, shotgun, or pistol were legendary and seldom has such proficiency existed then or since. He was showered with awards and heralded by heads of state and royalty the world around. Truly a forgotten master of the shooting arts, Mr. Paine has largely gone the way as his hobby and descended into obscurity.
Ira Paine
In the limited materials available on Paine, it is never specifically mentioned that he was born into
wealth, however, this is no doubt the case. On February 11, 1837 he was born in Hebronville, Massachusetts to Ira Sr. and Elizabeth Paine. Hebronville was a mill village in southwestern, Attleboro, very near the larger towns of Pawtucket and Providence, both located in nearby Rhode Island. This has often resulted in some confusion as to the man's true birthplace. Little is mentioned of Paine's young life other than he became an accomplished plumber and gas fitter, specifically mentioned in his obituary as "one of the finest in the state." Granted, this does not initially sound like a blue blood upbringing, but soon his interested ventured into solo voice and young Ira became a highly educated professional vocalist with an outstanding tenor sound. His professional performances with a vocal quartet are documented and brought him further acclaim. It is claimed in several sources that Paine performed in minstrel shows, but this author has not seen any evidence to either confirm or deny.
His education already varied from plumbing to vocal technique, yet Paine was satisfied by neither. He took a strong interest in the outdoors, which branched into firearms. He would retreat to the woods and practice shooting voraciously when not at work, resulting in his rapid ascension at a local yacht club's pigeon shoots. At the time, target shooting was considered a refined sport for gentlemen and ladies. Most universities fielded shooting teams and the popularity of the sport was immense. Such popularity has not escaped the eye of history; noted Smith & Wesson Historian Roy Jinks once wrote, "The rivalry between the Harvard and Yale pistol teams was as great as it was in football."
Young Paine quickly became a top member and the club would pit him against the top shots of other clubs, earning both the yacht club and Paine many accolades. Not just satisfied with his proficiency with the shotgun, he quickly also became a crack shot with the rifle as well as the pistol. Paine took a particular delight in his expertise with a pistol, because while numerous sharp shots existed with a rifle or shotgun, very few showed mastery over the pistol. Ambidextrous with any firearm, Paine was performing shots that witnesses had previously thought impossible and this was to be a common theme throughout his illustrious career. Around this time Paine married his wife who would play a large role in his early shows. Not documented until now, vital records from Massachusetts show that Paine was married to Margaret E. McLaughlin on August 21, 1856 in the city of Worcester. The very next year, they had their first child, a daughter named Marietta F. Paine.
It was at this time of incredible local success that Paine decided forgo his career in the arts to take his guns on the road to become a professional exhibition and competition shooter. The transition from competitive shooter to exhibition shooter may be lost to time, but it is easy to assume that Paine went on to experience further success at larger, regional contests to further build his fame and draw. A 1917 copy of the Nation Rifle Associations "Arms and the Man" magazine states the following of Paine's first tour.
"During his first tours of this country he used a Stevens pistol exclusively. Some of his favorite shots at that time included breaking a small glass ball at 12 yards; shooting glass balls the size of a walnut from the top of a helmet worn by his wife while she walked about the stage; smashing swinging balls; shooting the "spots" from playing cards held by his wife, and then splitting the card, when held edgewise by a single accurate line shot."
These dangerous and outstanding exhibitions of skill with his Stevens Lord Model pistol earned Paine his well-deserved fame and he was soon holding performances in every major city across the country. This new career began in 1860, but it is not documented how the 23-year old Paine avoided service in the Civil War.
In this early stage in his career, the .22 caliber sized holes in his targets from his Stevens pistol were often too small for the audience to clearly see. Even though using a smaller caliber was more difficult, he switched to a larger cartridge. He first used a dueling pistol made by fine Parisian gunsmith Gastinne Renette, but apparently found it unsatisfactory. Historian Roy Jinks states that Paine worked tirelessly with the manufacturer to determine the most accurate revolver. Reportedly after the two had fired thousands of rounds and carefully documenting their results, they came to the conclusion that the Smith & Wesson New Model No. 3 would be Paine's new tool of his trade. Renette and Paine shared a mutual respect and would remain friends.
By 1866 he had traveled to Europe to take on the top shots of the British military in head-to-head competition. He bested their Captain Patten and Captain Skelly and now the fame of the one-time plumber spanned nations. He would spend the next several years in Europe performing and showing his skills before kings, queens, czars, military men, and other sharp shots. Paine remained in Europe for over six years performing in every capitol city and royal palace, astounding his audiences along the way.
From available sources one infers that Paine then returned to the states to give his homeland another taste of the shows his European audiences had so enjoyed. His obituary states that the same year of his return, 1872, that Paine "became champion pistol shot of the United States." Throughout the 1870s he enjoyed a good many challenges and rivalries, most notably against Captain Adam Bogartus, an expert with the shotgun. The exploits of the two and their competitions defines a level of expertise that defies comprehension. Bogartus won the majority of the matches, but even those were seldom by more than 2 birds. The high publicity matches between the two, dating back to 1871, were also an excellent chance to develop some of the new inventions of recreational shooting such as the glass ball, the trap, and the clay pigeon. Both Cpt. Bogardus and Paine made contributions to the trap device and ball, but neither can claim either invention, despite claims in both camps to the contrary. Paine took to the glass balls early, as did audiences, and he would often fill them with feathers that would erupt in a spectacular burst that thrilled the crowds that still liked to "see the feathers fly" from when live birds were used in the shooting exhibitions.
However, it is also in the 1870s that Paine's life takes some unexpected personal turns. After hiatus from census records for some time, he pops up on the 1870 Federal census with his wife Margaret and their daughter Marietta F. Paine, as living in Rhode Island and with Ira's occupation listed as "gas fitter." On August 12, 1872, Marietta married one Mr. Albert Henry Wakefield in Johnston, RI where the marriage certificate lists her age as a tender 15. Mr. Wakefield was 23. A quick scan for marriage licenses reveals that the Ira Paine married Annie Ratlidge Parker Collins, a 29-year old widow from Massachusetts. The two were married on January 20, 1875, in Brooklyn. Unfortunately there was not adequate time before this article published for a proper investigation for the result of Mr. Paine's first marriage to Margaret. It may have ended in her death, a divorce, or may have even been supplanted by the beginning of a second family during Paine's many travels. No death record exists for Margaret in Massachusetts, so she may have died in nearby Rhode Island, or the two could've simply divorced. To muddy the waters even further, Paine's obituary also mentions a marriage to "Miss Anna Marchant while abroad," around 1883. No further information could be located on this potential third marriage (or confusion of his second marriage) at this time.
Unclear personal life aside, Ira Paine left the United States again in 1881, and set out again once more to thrill the crowds of Europe. He again made appearances in nearly every major city "such as Brussels, Paris, Berlin, Bordeaux, Madrid, Barcelona, Lisbon, Hanover, Breslau, St. Petersburg, Moscow, Warsaw," and many English cities. However, it was General Von Kameke, the German Minister of War, who on March 12, 1882, "in the presence of the Royal Family and 4,000 troops, pronounced him 'the most wonderful shot the world has ever seen.'" On December 8 of that same year, "he was knighted and decorated by the King of Portugal at Lisbon in the presence of the American Minister," - a reward for Paine's fine exhibition for the King who joined Paine in some shooting after the show. It was during this same performance that the King of Portugal made Ira a chevalier of an ancient military order. When researching Paine it is impossible to not find him referred to as Chevalier Ira Paine.
He would shoot at the most prominent European armorers and manufacturers of the day. He defended his honor in Paris after accusations flew that his wife was little more than a magician's assistant, and aiding Paine's "shots" via trickery or slight of hand. He bested famed duelist Henri Cartier at the Gastinne Renette gallery, and demolished Josef Schulof in Vienna. It is documented that when leaving Vienna, Paine, "was fairly loaded with souvenirs" and that "the five judges of the great pistol match... presented him with a magnificent gold medal, inscribed, 'The Master Shot of the World; from Vienna Friends.'" After four years abroad, Chevalier Paine again returned home to the United States and began plying his exhibition shooting act in a traveling circus known as "Frank A. Robbins' New Shows, Museum, 2-Ring Circus, and Monster Menagerie."
The general manager of this circus was one Mr. William L. Loper. According to Mr. Loper's descendants, one summer around 1888, "Robbins and his girlfriend absconded with the season's receipts and fled to Canada," leaving Loper to "pay off the performers and help get what was left of the circus to Frenchtown, New Jersey, where the circus wintered." Robbins would go on to form other circuses and carnivals until his untimely death in 1920 after falling through a skylight and plunging 20 feet to his doom.
William Loper on the other hand would become a fast friend of Paine. It could've been the two were natural colleagues or perhaps Paine was showing his appreciation to Loper for holding the circus together after Robbins' ill-advised departure, but whatever the case, Paine gave this Winchester to Loper at that time and it has remained in the family ever since - approximately 128 years. Loper passed this incredible rifle on to his daughter, who in turn bequeathed it to her grandson. This rifle has never been seen or offered to the public in that time.
Chevalier Ira Paine passed away suddenly the very next year, in 1889 while in Paris, France. It is thought to have been heart trouble attributed to his stout figure and obesity, though a conclusive cause of death is not documented for history.
The Gun
This incredible Winchester likely began its life in 1870 based on its 36200, hand engraved serial number. The notes of its factory record state that it is a
"Special gun transferred from back book
Received in warehouse on (no date recorded)
Shipped from warehouse on May 6, 1878"
This may indicate that this gun was held and maintained at the factory and was likely used as an exhibition piece. One look at the rifle clearly shows that this is a distinct possibility. Upon first glance, the gun may appear to have a silver plating. However, after careful inspection Rock Island Auction Company is astounded to reveal that this 1866 rifle possesses a solid German silver frame, one of two known. Engraving is attributed to Gustave Young and is some of his finest work. Not coincidentally, it could be considered a companion piece to Winchester 1866 serial number 26283, also attributed to Young by R. L. Wilson. SN 26283 is generally considered Young's masterpiece and one of the finest Winchesters ever created. Both unsigned rifles appear to be cut by the same master, a distinction inferred from their scroll similarities, the light hand used in each, and the unique depth of field utilized in the panel scenes. Both rifles are also marked by a distinct rear sight.
A comparison between the Ira Paine rifle and Winchester SN 26283. Top photo taken from
R.L. Wilson's book "Winchester Engraving"
Floral scrollwork covers nearly every surface of the silver frame, creeping up the barrel and forend before reappearing at the muzzle in abundance. In fact, barrels featuring this level of work are frequently seen on the vaunted "1 of 1,000" rifles. While solid German silver comprises the frame, cartridge elevator, and forend cap, other parts are plated in nickel such as the barrel and lever. The loading gate remains a vivid nitre blue and the hammer still displays hues of its case hardening.
But enough of what can be shown to you in photos. What makes this gun so incredible? Why is it so benchmark breaking? Besides the aforementioned solid German silver frame, a barrel that would not look out of place on a 1 of 1,000, and some of Gustave Young's finest work?
1. This is one of 24 Winchester 1866 rifles that letters.
2. Factory letter also states this gun has "3x checkering"on its "varnish finish" and highly figured walnut stock.
3. Not listed on the factory letter is the shotgun buttstock, another highly desirable, special order feature.
4. After Paine gave this rife to William P. Loper (circa 1888), it remained in that family ever since. That's 128 years! It has not been photographed or offered to the public in over a century!
5. Did we mention that Chevalier Ira A. Paine is actually photographed with this wondrous Winchester? With the abundance of silver, nickel, and the presence of a shotgun butt, the rifle offered by Rock Island Auction Company is unquestionably that seen in the below photo.
The Mystery
There are also some curious markings on this Winchester. The collector fortunate enough to take this masterpiece home will have some interesting detective work ahead of them.
1. Working hours?
When disassembling the firearm to verify its solid German silver frame, Rock Island Auction Company came across some utterly fascinating markings located on the side of the tang. Not visible when the gun is fully assembled, they indicate a daily occurrence in the month of July. Is this is a list kept by Gustave Young himself of the time spent on this gun? It is unknown at this time, but that certainly seems a reasonable speculation. If that is the case, it is also interesting to note how Young worked so diligently for so long, but then began taking breaks from this work before finishing it toward the end of that same month (the last scratching indicates July 27).
2. Roman Numerals?
Under the forestock is another curious marking: what appears to be the Roman numeral 14. Were this marking done in an area that disassembly was not required to access, one could safely assume it would have been "added" after it left the factory. After all, why would Winchester visibly mark one of their prized exhibition rifles in such a way? However, since this resides in a "hidden" area of the rifle, this author feels it safe to assume that the marking was placed their during its creation or time in the factory. Also, given some of the other markings in hidden areas, this could be yet another marking by Gustave Young. Debating its meaning is another matter entirely.
3. C 20?
Opposite the Roman numerals, on the corresponding barrel flat, under the forestock, appears "C 20." Is this another factory designation? Another message from Young? All the other markings on the gun, including the serial number and address, are hand engraved, yet these are clearly stamped, especially when one sees the faint "0" behind the clearly stamped one. But were these stamped over Young's original markings? Looking closely at the "2" we can see a more "ghosted" two behind it. Is this another missed strike of a stamping or an attempt to clarify Young's writing, which in #1 was shown to have been quite informal at times?
This is truly an exceptional rifle, owned by a man nearly lost to history, that sets a benchmark all its own when it comes to rare, fresh, and absolutely incredible high end Winchester rifles. It's unclear what determines whether a famous shooter will be remembered. Why do we know names like Annie Oakley, the Famous Topperweins, Bob Munden, Jelly Bryce, or Herb Parsons and not sharp shots such as Paine or several of his contemporaries also mentioned in this article? The floor is open for theories and suggestions, but one thing remains certain: this ground breaking Winchester, finally revealed to the collecting public, will not be forgotten anytime soon.
-Written by Joel R. Kolander
SOURCES:
Himmelwright, Abraham Lincoln Artman. Pistol and Revolver Shooting. New York: Macmillan, 1915. Print.
https://familysearch.org/ark:/61903/1:1:24Z2-8JH "Ira Paine Dead." Evening Bulletin [Providence] 1889: n. pag. Print.
Jinks, Roy G., and Sandra C. Krein. Smith & Wesson: 1852-1965. Charleston, SC: Arcadia Pub., 2006. Print.
"Thirty Years Ago With the Hand-Gun, Part 2 - The Story of Ira Paine." Arms and the Man 16 June 1917: 225-26. Print. Vol. LXII, No. 12.
With all the incredible swords in this auction, writing an article to highlight them all is almost a fallacy in itself. Multiple swords discussed below would have easily earned their own article were time not an issue. Alas, with the auction a mere two weeks away, brevity becomes one's ally. That said, let's get down to business and inspect some of these historic and fabulously ornate swords.
Even as recently as our 2015 December Premiere Auction we've seen some amazing swords here at RIAC. However, a sword with diamonds mounted on the scabbard certainly sets a new benchmark in elaborate craftsmanship. This jaw-dropping sword will grab your eye from across the room and not let go until you take a closer look. Fittingly placed in an elegant case lined with navy velvet, the sword comes with two scabbards. One is a brown, "everyday" scabbard with a body of brown lacquered steel, finely crafted gilt brass upper and lower hooks, and a wonderfully engraved tip protector and throat, both also of gilt brass. It is a supremely handsome piece.
The other scabbard is undoubtedly for formal occasions or ceremonies. All furniture on the scabbard is elaborately sculpted and the whole of its body is gilt brass. Most notable is the center suspension band featuring a large sculpted wreath with "US" at its center, the letters of which are accentuated with 27 diamonds. With the copious engraving and sculpted figures, one could write an article on the embellishments of the scabbard and sword alone! Speaking of the sword, let's not give it short shrift. As one can see in the first photo of this article, the guard is incredibly elaborate gilt bronze web of figures, bands, sculpted "US" letters, and accented gems. The grips are a scale-carved mother of pearl with golden star accents.
The sword was purchased by one Henry B. Humphrey, allegedly from Tiffany & Co., for $270. Little is known of Humphrey other than he was a Maine militia officer and there are records of him being assigned by the president as the American Consul in Alexandira, Egypt in 1846. Some deeper investigation awaits the lucky collector who adds this to their collection. The name of the article may be "Swords with A Story," but this blade's tale has yet to be fully revealed. However, as you read on to see the finely adorned swords and learn of the brave, intelligent, and successful men they were created for, think of this: if those incredible men earned those swords for their heroic deeds, what must have Humphrey accomplished to receive this piece, arguably the most lavish of the sale. I urge you all to view the item listing for this magnificent sword, it truly proves that a picture is worth a thousand words.
Our next sword is another beauty, but thankfully more history is known about its origins than the previous lot. This Ball, Tompkins & Black blade is a Civil War era treasure and was presented by Governor of Illinois Rich Yates to General John Cook. Cook is the son of Daniel P. Cook, the namesake of Cook County, IL, which holds the city of Chicago. The presentation placard on the scabbard indicates that this sword was presented to Cook for "gallant conduct at Fort Donelson." By 1863 then-Colonel Cook's forces were attached to those of General Ulysses S. Grant as the future president's star was beginning to rise. They had participated in several battles together, including Shiloh, when in February of 1863, the Union forces began the Siege of Fort Donelson, a Confederate fortification near the Tennessee-Kentucky border that limited access to the Cumberland River.
Union gunboats had been driven back by the fort's batteries, yet troops surrounded the Confederates. Often times Union troops would go without campfire during the cold February nights for fear of giving up their position to the Rebel guns. However, after 2 full days of siege, the Confederates attempted to break free via a surprise attack. Cook and his men held an important flank, exposed themselves to incredible amounts of fire, and Cook himself had three horses shot out from under him. The Confederates were remarkably close to their goal, but pulled back to the fort. That night, Confederate commander Brigadier General John B. Floyd and his second in command, Brig. Gen. Gideon J. Pillow, each made their excuses, relinquished command, and fled across the river. Brig. Gen. Simon Bolivar Buckner would eventually agree to the Grant's terms of unconditional surrender, giving the Union and important victory. Courtesy of this incredible provenance, the sword has been displayed at several museums, and is accompanied by much research on General Cook, his military service, and personal life.
Gold and engraving abound on the blade and are highlighted by brilliant nitre blue fields. The use of bright and satin grays expands the palette even further while providing a contrast in backdrop for the luxurious embellishments. The grip is sculpted from a single piece of metal and shaped to be a mustachioed Roman legionnaire with his horse hair plumed helmet and uniform.
Nearly three years to the day after Cook engaged in the battle at Ft. Donelson, another presentation sword in this auction was being presented to Lt. Col Henry Ware Lawton. If that name sounds familiar, it's because he is often credited with the capture of the Apache leader Geronimo. The Winchester 1886, serial no. 1 presented to Lawton for this achievement is also appearing in this sale. If you've read our previous article on Lawton, you know he was an accomplished career military man and Medal of Honor recipient.
This sword is further proof of his military successes. Besides the fact that they didn't present swords to poor military performers (who were also often dead), the scabbard's suspension bands and tip are all inscribed with Lawton's extensive battle record. They also state that the sword was presented to Lawton "From the Officers and Men of the 30th Indiana Infantry Regt. Vol." The opposite sides are adorned with sculpted brass figures; from hilt to point they depict Columbia, a patriotic motif, and an American soldier carrying a flag. The guard also enjoys many sculpted figures such as an eagle head and laurel branches, which all protect the German silver grip that has been wrapped with brass wire.
The blade you see above belonged to a man who did it all in terms of serving his country. William H. Bissell began his career as a school teacher and doctor, but was persuaded to go into politics. He began by first practicing law and had achieved the office of a prosecutor in St. Clair County, IL by 1844, but two short years later he joined the 2nd Illinois Volunteer Infantry as a private at the start of the Mexican-American War. He would quickly become colonel of the regiment and engage Santa Anna's forces in February 1847 at the Battle of Buena Vista where his actions, even in a highly disciplined retreat, earned him praise from top military men. After the short war, Bissell returned home, resumed his law practice and was soon elected to the U.S. House of Representatives. Once there his anti-slavery leanings caused him to butt heads with his fellow Democrats, even to the point of accepting a duel from fellow Buena Vista veteran Jefferson Davis.
This sword would have been presented to Bissell after the Mexican-American War.
Long story short, Bissell was upset at remarks made by a Virginia Democrat. He proceded to give an hour long speech to the delight of his allies, but that particularly incensed the future President of the Confederacy. Davis challenged Bissell to a duel, knowing that Northerners often refused duels and frequently took oaths to not participate in them (Bissell was one of these). To Davis' surprise, Bissell not only accepted, but as the challenged party exercised his right to choose the weapons. He selected military muskets, loaded with ball and buckshot at point blank range. In other words, "I don't care if I die, but you're definitely going to die." Several parties received wind of the challenge and attempted to intervene between Davis's and Bissell's seconds, and eventually the duel was cancelled. One legend says that President Zachary Taylor, another Buena Vista veteran, had to personally intervene, while other sources say that Davis wisely "accepted further explanation" of the offending remark and backed down. In any case, given Taylor's brief presidency, we can reason that the said interaction took place between March 4, 1849 and July 9, 1850.
Bissell would hold several more Congressional offices as both an Independent and a Republican (despite previously serving as a Democrat), and even as the Governor of Illinois before dying of pneumonia in 1860. This blade is a fitting tribute to the former Colonel, congressman, and governor. The gilt and etched blade is covered in decorative panels of weapons, scrollwork, patriotic motifs, Greek mythology, symbols of the Mexican-American War, and even a scene over 7-inches long portraying infantry and cavalry marching outside a walled city. The grip and pommel are made from a single piece of engraved & gold-washed silver, with the pommel featuring two faces back-to-back. Read our official description in the auction listing for more details about this wonderful sword.
After some of the luxurious dress swords that have been featured in this article, one might find this sword to be relatively plain. That would be partially correct as this is not dress sword, but one intended for actual combat. It is typical of those carried by American and British officers in the American Revolution and the French and Indian War. What makes it atypical is its superior quality, embellishments, and high condition.
This is a sword crafted by John Bailey who was a well-known cutler (sword/knife maker) in the Revolutionary War era and even had the distinct honor of forging a silver-hilted hunting sword for George Washington, referred to since as his "War Sword." The markings of "ANDREA FARARA" on the blade at one time indicated a superior quality of blade. Farara was an Italian bladesmith that lived in Scotland whose excellence was known far and wide. Unfortunately, he lived in the 16th & 17th centuries, not the late 1700s. The presence of his name on this blade can likely be attributed to that renowned quality and the prestige that would have come from possessing one of his swords, even decades after his death.
Even though it was meant for battle, the sword still has finer features rare to swords of the period. The sword uses silver for its guard, counterguard, and pommel which is in the shape of a lion's head. This use of silver in combination with the antique ivory grip show that this sword did not belong to just any soldier, but was the property of a field grade officer. One might think the blade to be in "lesser" condition than others shown here, but make no mistake, historical context is everything. In a similar vein, Colt Walker revolvers always saw hard use, and those that exist today are far from one would call "Excellent" condition. Likewise, swords intended for use would have seen incredibly harsh conditions and so to see one survive today in as fine a condition such as this, let alone with embellishments befitting an officer, is an incredible opportunity.
According to the plate mounted to the remaining 6-inches of the leather scabbard, the sword was once the property of Captain Thomas Buchanan of the 1st Regiment of the Pennsylvania line. He took part in numerous battles in the Revolutionary War including the Siege of Boston, the New York Campaign, the Battle of Trenton, the Second Battle of Trenton, the Battle of Princeton, the Battle of Barleywine, and others. After his military service he became the sheriff of Cumberland County, Pennsylvania. According to the plate on the other side of the scabbard, this very sword was later presented in 1850 to a presumed descendant of General (formerly Captain) Buchanan, Robert Buchanan.
This sword in its fine condition, with its officer-grade embellishments, and links to a documented soldier of the Revolutionary War combine to make it a incredible piece of American history and an amazing collector's item.
I hope seeing some of the outstanding history that is available in this auction lights a fire in you to find out what else is contained in this endlessly educational sale. The best part is, Rock Island Auction Company specializes in firearms, so if we have this much history in swords, imagine what you'll find when it comes to guns! If swords and knives are your area of interest, please click here to see all the lots in the auction containing those items. If history is more your passion, head over to our YouTube Channel or read some of our previous blog posts for more in-depth analysis on a wide variety of items. We can't wait to share what's in store.
Exceptional, Unusual, and Documented Abias B. Smith Pennsylvania Long Rifle with Rare Belted Rifling
In the Pennsylvania countryside in the early 18th century, a
uniquely American firearm was born that helped thirteen separate colonies
defeat the greatest empire on Earth, form one nation, and span a continent. It
is fitting that this new weapon was a conglomerate of ideas and built initially
by German immigrants in the north and famously used by Anglo woodsmen in the
south who became symbols of American ingenuity, self-sufficiency, and
determination. In the years following the Revolutionary War until the wide
spread adoption of the percussion system, the long rifle reached its pinnacle
in small shops in Pennsylvania, Maryland, and Virginia. Many are outstanding
testaments to their skill and true pieces of Americana. It is in this period that
they earned their famous nickname from the men who famously used them: the long
hunters who explored the Virginia backcountry known as Kentucky. Though they
are more properly known as American long rifles, prior to the War of 1812,
Andrew Jackson’s astounding victory over a superior force of British soldiers
at New Orleans in 1815 solidified their nickname in our national memory. The
song “The Hunters of Kentucky” about the battle contained the famous lines:
“But Jackson he was wide awake, and wasn’t scared at trifles, For well he knew
what aim we take with our Kentucky rifles.”
Those of you who attended or followed the last RIAC Premiere
Auction undoubtedly noticed the wide array of beautiful early American rifles.
Many of these rifles came from the extensive Piedmont Collection. Our December
Premiere contains another installment from this collection as well as rifles
from other collectors. Many of these rifles were built by some of the most
talented American artisans of the early republic. Their names are immediately
recognizable by those who collect these pieces of art: John Armstrong, Jacob
Dickert, Simon Lauck, John Moll, John Noll, John Rupp, George Schreyer,
Frederick and Jacob Sell, Peter White, and many more. Each of these pieces is
truly a masterpiece and several contain incredibly rare attributes.
The Kentucky’s roots
came from two other firearms in the early 18th century: the shorter, larger
caliber German Jaeger rifles brought from the Old World to the New by German
immigrants and the long smoothbore fowling pieces and trade guns manufactured
primarily in England and Western Europe and imported in large numbers for the
fur trade. Why exactly these two forms were married has continually been
debated. What is clear is that fowling pieces and muskets were not well suited
for taking game at considerable distances, and their larger bores meant they
used a greater amount of lead and powder, which were more destructive to pelts
and meat. This also meant that a hunter, be they Native or Euro-American, had
to carry more weight in ammunition and had to get closer to their targets. The
Kentucky not only improved on those issues, but its long, rifled barrel also
offered other advantages: the extended barrel combined with blade and notch
sights provided a long sighting plane which allowed hunters to more fully
utilize their rifle’s potential accuracy and also had the added benefit of
providing more time for the slow burning black powder to combust and thus
maximized power even while firing smaller, lighter balls. An experienced rifleman
could hit a man or deer sized target reliably at 200 yards or more.
By the time unrest was growing in the colonies in the latter
part of the 18th century, gunsmiths were producing a firearm that was found
nowhere else in the world. Once the first shots were fired at Lexington and
Concord, the American woodsman and his long rifle rose to the challenge. Many
fought in local militias, but the Continental Congress also approved ten rifle
units during the war including Daniel Morgan’s famous riflemen. They harassed
British soldiers and targeted officers from outside effective musket range to
remove key leaders from the battlefield and damage enemy morale. Morgan’s men
later defeated the infamous Banastre Tarleton at the Battle of the Cowpens. In
1780, the “over the mountain men bested a Loyalist militia armed with
smoothbore muskets by picking them off at range at the Battle of Kings Mountain
and turned the tide of the southern campaign against Lord Cornwallis. George
Rogers Clark led a group of Kentucky militia and seized the isolated
settlements in Illinois justifying the American’s claim to the vast swath of
territory between the Appalachians and the Mississippi River. At this stage,
long rifles were still fairly plain and typically had wooden patch boxes, but
his younger brother William carried a Golden Age rifle during his famous
exploration of the Louisiana Purchase with Meriwether Lewis and the Corps of
Discovery. Thus, while the majority of American soldiers during the Revolution
were armed with smoothbore long arms, small groups of riflemen used their
advanced weapons and prowess to make considerable contributions to the cause.
Silver Inlaid Golden Age Flintlock Long Rifle by Former Revolutionary War Rifleman Simon Lauck
Among the wide array of beautiful long rifles in our
upcoming auction is a fine, silver inlaid rifle built by Simon Lauck. He and
his brother Peter both fought with Morgan’s Provisional Rifle Corps and were
gunsmiths in Winchester, Virginia after the war. It is a classic example of a
rifle built during the Kentucky rifle’s Golden Age. Rifles from this era are
favored by collectors due to the unique nature of each rifle and the variety of
regional variations. Aside from a few makers who preferred to focus on
perfecting the nuances of their designs like John Armstrong, most used many
variations of styles taught to them while apprenticed to a master. They in turn
passed on their own variations on to the next generation of apprentices. This
led to what we now think of as the “schools” based roughly in Lehigh Valley,
Lancaster, York, Lebanon, Chambersburg, and may other locales based on shared
attributes and lineages.
Gunmakers were influenced by one another especially in
specific areas but also adapted art forms from Europe. The carving and patch
boxes, for instance, follow European trends in terms of rococo and baroque
scrolls. Note the incredible variety in patch box designs on these rifles and
all the little details in carving, inlays, and little components. While there
were tremendous variations, also note the consistencies such as the fixed blade
and notch sights and the beautiful, full length, curly maple stocks.
One area of variation among individual rifles is the variety
of inlays. Many included patriotic motifs such as eagles and some contain
important, but largely long forgotten, revolutionary era symbols. Such is the
case with the rare rattlesnake designs on the Jacob Dickert and George Schreyer
rifles. Like the long rifle itself, the use of the rattlesnake as a symbol of
the American ethos well pre-dates the idea of a separate American nation. In
fact, one of the first known uses of the symbol was in Benjamin Franklin’s
famous “Join or Die” cartoon from 1754 calling upon the colonies to unite, with
the support of Great Britain, to defeat the French in the Seven Years War
(French and Indian War), a conflict started in part by a young British officer
by the name of George Washington. Franklin’s cartoon came to represent the need
for unity among the colonies in the American Revolution as well.
Rattlesnake engraving appearing on the patchbox of a scarce Jacob Dickert Lancaster flintlock long rifle
Another rattlesnake on the patchbox. This time on a documented Golden Age flintlock by George Schreyer.
The other side of the stock features handsome raised carving.
Formerly of the Joe Kindig, Jr. Collection.
Rattlesnakes are only
found in the Americas and were numerous in many parts of the colonies. Though
they do not attack unprovoked, rattlesnakes defend themselves with deadly force
when they need to defend themselves. This was the image the Founding Fathers
wanted to present to the world in Jefferson’s Declaration of Independence.
Americans were not breaking from England needlessly; they were defending
themselves against attacks on their lives and freedoms. Rattlesnakes also had
another attribute that 18th century Americans knew well. As “American Guesser”
wrote in 1775:
'Tis curious and amazing to observe how distinct and
independent of each other the rattles of this animal are, and yet how firmly
they are united together, so as never to be separated but by breaking them to
pieces. One of those rattles singly, is incapable of producing sound, but the
ringing of thirteen together, is sufficient to alarm the boldest man living.”
Though this symbol was very important in the colonial era and for the young American republic, very few rifles have been found that incorporate the design, especially as boldly as these two examples by Dickert and Schreyer. The snake patch box designs of course relate to the Gadsden Flag and First Navy Jack used during the war, and Dickert’s is also similar to the design utilized on early Virginia Manufactory rifles.
Desirable Silver Inlaid Flintlock Kentucky Long Rifle Signed by Golden Age Master Craftsman Frederick Sell
of the Littletown School with Raised Carved Stock
The
Frederick Sell rifle is another good example of the paradox of both unity in
overall design through the use of consistent motifs and basic configurations
and yet the individuality of the combination of carving and engraving on each
rifle. Sell was considered by influential Kentucky rifle scholar Joe Kindig,
Jr. as “one of the great masters of Kentucky rifle making” and was part of one
of the most influential gunsmithing families during the Golden Age. His
greatness comes from the fact that he developed his tremendous skill set while
working underneath at least three earlier accomplished masters: George Eister,
John Lechner, and Adam Ernst. His presumed father, Jacob Sell, was among the
most talented makers of the prior generation, and Frederick’s brother who was
also named Jacob (often referred to as Jacob the Younger) was also a gifted
maker in his own right. Sell adopted the
best aspects of the designs of each of the men under whom he worked. Thus, he
created his own style and his own variations while keeping his designs tied to
the past and reflected the American ideal of balancing community with
individualism.
Jacob Sell the Elder Signed Early Golden Age Flintlock Long Rifle with Silver Inlaid Stock
Peter
White is also a great example of someone that was part of a family line of
gunmakers that pre-dates the United States and continued well after our
independence was secured by victory in the War of 1812. He is the son of either
Nicholas or John White who were both gunsmiths during the fight for
independence, and at least one of his sons continued to build rifles after his
death in 1834. One of the interesting aspects of White’s rifle is that the lock
appears to have been built by him. Most gunmakers used locks imported from
Europe or produced by dedicated lockmakers in the cities. This rifle is also
noticeably slender relative to others of the style and era.
By the time of White’s death, the long rifle and the
flintlock system had peaked and were beginning to be replaced by shorter,
larger bore rifles. The percussion system and the spread of industry also
helped shift firearms production away from individually built masterpieces. The
Hawken brothers’ “Plains” or “Mountain” rifle style relatively quickly became
the preferred design as the frontier pushed ever further past the Mississippi.
Nonetheless, the long rifle persisted, and its legacy continued to influence
American firearms for generations. In fact, long rifles have been in
essentially continuous production by American gunmakers from the early 18th
century into the present day. One look at the Contemporary Long Rifle
Association is all it takes to attest the fact that the art of building the
first truly American firearm by hand is still alive and will be for generations
to come.
Desirable Peter White Golden Age Flintlock Long Rifle with Raised Carved Wood
This
discussion has hardly scratched the surface of all of the beautiful rifles in
our upcoming auction. For more information see AmericanLongrifles.org,
KentuckyRifleAssociation.org, KentuckyRifleFoundation.org, or the many detailed
books including Joe Kindig, Jr.’s classic Thoughts on The Kentucky Rifle in
It’s Golden Age and Merrill Lindsay’s The Kentucky Rifle both of which contain
pictures and discussions of several of the rifles in the upcoming auction. Do
not miss your opportunity to see these rifles first hand and please join us for
our Premiere Firearms Auction December 4th, 5th, and 6th.
