To Gene and Jackie Autry, Chairman and President, the Gene Autry Western Heritage Museum, to Monte Hale, of the Board of Directors, and to Mrs. Joanne D. Hale, Executive Director of the Museum, to James Nottage, Chief Curator, to Mary Ellen Hennessey Nottage, Collections Manager, to Dr. John Langellier, Director of Research and Publication; to Jim Wilke, Assistant Curator, to Susan Deland, Director of Merchandise Operations, and to Museum volunteer Sonia Russell. Special appreciation to James Nottage and John Langellier, for assistance and encouragement above and beyond the call of duty.
To Greg and Petra Martin, premier collectors and devotees of Americana, specializing in The West.
To Al and Carol Cali, collectors nonpareil of Wells Fargo, arms, and gaming equipment.
To Peter De Rose, James B. Smith, Richard Ulbrich, and John K. Watson, Jr., for lending prized pieces from their collections for the Peter Beard shoot at Hadlyme.
To James and Theresa Earle for highlights from their outlaw and gunfighter collection.
To Norm Flayderman for Buffalo Bill, Bowie knife, tomahawk, and related memorabilia, from his Americana archives.
To Lee A. Silva for the wealth of photographic images in the Greg Silva Memorial, Old West Archives.
To Matthew R. Isenburg for daguerreotypes from his extensive collection.
To Peter Buxtun, George Jackson, Tom Martin, and Herb Peck, Jr., for photographic images from their expansive collections.
To Dr. Edward C. Ezell, Curator, and Harry Hunter, Museum Specialist, Department of Military History, National Museum of American History, Smithsonian Institution.
To Thomas A. Thornber, Vice President, Castle View Productions, and to Jean R. Alexander, author’s assistant and secretary, for valued editorial and production support.
To Rhonda Redd, for editorial insights and for considerable patience during the creation of this tome. And to her mother, Christine Fajors, for her insights and counsel on word processing.
To Alexander Acevedo, the Alexander Gallery.
To Michael and Carol Kokin, Sherwood’s Spirit of America gallery.
To Martin J. Lane, American Antique Firearms, New York City.
To Charles E. Hanson, Jr., Curator, Museum of the Fur Trade.
To Phil Spangenberger, Blackpowder Editor, Guns & Ammo magazine.
To Frederick S. Calhoun, Historian, U.S. Marshals Service, and to Ana-Marie Sullivan.
To Richard Rattenbury, Curator of History, National Cowboy Hall of Fame and Western Heritage Center.
To Dr. Paul Fees, Curator, Buffalo Bill Museum, and to Elizabeth Holmes, Assistant Registrar, Buffalo Bill Historical Center.
To Robert J. Chandler, Historical Officer, Wells Fargo Bank.
To the late Gaines de Graffenried, first Curator, Texas Ranger Museum and Hall of Fame.
To Don Snoddy, Director, Union Pacific Railroad Museum.
To Arthur J. Ressel, Jeff Faintich, Gregg Grimes, and anonymous friend K.R.
To Kitty Deernose, Museum Curator, Custer Battlefield National Monument, and to Lieutenant Colonel James Pyatt, Secretary, Little Big Horn Associates.
And to Howard L. Blackmore, Blair Clark, Thomas A. Conroy, Chris de Guigne IV, Richard Ellis, Louis A. Garavaglia, John Gilchriese, Enrique Guerra, Roy G. Jinks, R. L. Moore, Jr., M.D., Virgil Mylin, Brig and Louise Pemberton, Peter and Sandra Riva, William B. Shillingberg, S. P. Stevens, Glen Swanson, Donald B. Tharpe, Maria Laura Uberti, Arno and Peter Werner, William R. Williamson, Heidi, Christopher, and Stephen Wilson, John and Judy Woods, Charles G. Worman, and Donald M. Yena.
To Donald I. Greene, President, P&B Office Machines of Connecticut (Pawcatuck), and to his immensely patient and helpful son, David, for introducing the author to the miraculous world of word-processing equipment, in time to complete the manuscript for this book.
And to Robert Loomis and colleagues at Random House, and to Martin Moskof and Associates, designers, who produced a complex volume in record time.
Peter Beard’s work has appeared in Vogue, Life, Playboy, and a number of other publications, and his books to date are The End of the Game, Eyelids of Morning, and Longing for Darkness. Books in progress are Beyond Gauguin and Last Word from Paradise.
His photographic technique for this project was creative design and layout for some sixty 4 × 5 transparencies, of over 250 objects, at interior and exterior locations, with occasional interruptions by whitetail deer and inquisitive children, and a steady video background diet of Robert Altman’s Buffalo Bill and the Indians. Allan Brown assisted with his equipment as described below.
Allan Brown’s work has appeared in the editorial pages of Outdoor Life, Audubon, Colonial Homes, The Saturday Evening Post, Yankee, The American Rifleman, Man at Arms, Quest, and numerous other periodicals and books. For firearms photography, Brown uses a 4 × 5 Combo View Camera almost exclusively. He prefers Kodak Ektachrome film (either daylight for outdoors or tungsten for studio work) for consistent quality. Of as much importance as the film is finding a quality lab to process it. Much of the work for The Peacemakers was by R. J. Phil, of East Hampton, Connecticut.
For lighting, Brown uses Lowell tungsten lights, 3200 Kelvin, in the studio. The combination of these lights along with various diffusion materials and reflectors produces the lighting he finds complimentary to firearms. Tungsten lights have the added benefit over strobes of allowing one to see the exact lighting that the film will record.
Susan Einstein’s studio is in Los Angeles. She has specialized in the photography of art objects for museums, galleries, collectors, and artists for about twenty years. Formerly on the staff of the J. Paul Getty Museum and the Fowler Museum of Cultural History at UCLA, she has a master’s degree in art history from the University of California, Berkeley. Her work has appeared in several art books, catalogues, and periodicals.
Miss Einstein uses a 4 × 5 Toyo View Camera, daylight Ektachrome film, and strobe lighting.
Douglas Sandberg is a graduate of California College of Arts and Crafts, in Oakland. Much of his skill in photographing works of art was learned at the auction gallery Butterfield & Butterfield, San Francisco, where he was Director of Photography for seven years. In 1987 he created his own Comprehensive Photography company in South Park, San Francisco. His clients range from Christie’s to WordStar, Pebble Beach Co., to Electronic Arts, and more. An artist as well with a brush, his paintings of antique and modern cameras have been on show at galleries. Equipment used for this book was primarily a Toyo 4 × 5 View Camera and Balcar Electronic Flash system. Strong and direct lighting were used to bring out subtleties of engraving, with soft low-light filling in shadow detail. His choice of film: Ektachrome 100 Plus.
Most of the photographs in The Peacemakers were shot by Peter Beard, Allan Brown, Susan Einstein, and Douglas Sandberg. Balance of color photography by Thomas A. Conroy, Larry Faeth, John Fox, Roger Fuhr of ROLANDesign, Paul Goodwin of Richard Ellis Publications, Sid Latham, Stephen Lee, Eric Long, Staff Photographer, National Museum of American History, Smithsonian Institution, Louise Pemberton, Bruce Pendleton, Gary C. Putnam, Rick Oltmans, Barry Slobin, Steve Smith, S. P. Stevens and Turk Takano of Gun magazine of Tokyo.
American Museum of Natural History, New York, 66; Arizona Historical Society, 20, 34, 102, 105, 142, 181, 185, 198, 249, 251; author’s collection (primarily memorabilia), 2, 42, 44 (game bag, pistol), 64, 81, 82, 95 (sword), 117 (advertising), 118, 122, 130, 134, 205, 223 (letter, coin), 230, 252 (Ulrich card and ivory), 267, 268, 270, 281, 289, 311, 312, 313, 317, 319, 329, 330, 337, 338, 339, 340, 341, 347, 358, 360, 373; Gene Autry, 367; Gene Autry Western Heritage Museum, 70, 87, 98, 107, 123, 146, 160, 161, 171, 172, 173, 175, 177, 203, 204, 220, 222, 244, 256, 257, 271, 289 (rifle, case), 291, 292, 295, 299, 303, 306, 309, 310, 312, 313, 314, 317, 318, 319, 320, 321, 322, 325, 326, 327, 329, 330, 331, 332, 333, 334, 337, 338, 339, 348, 362, 365, 366, 370, 375; Bancroft Library, University of California, 122; Robert B. Berryman, 182-183, 307; Joe Bishop, 165; Boone|&|Crockett|Club,|Buffalo|Bill|Museum,|274;|Buffalo|Bill Historical Center, front of dust jacket, 258, 291, 294, 297, 299; Butterfield & Butterfield, 346; Peter J. Buxtun, 142, 170, 252 (b & w photo), 361 (b & w photo); Al and Carol Cali, 127, 136, 140, 145, 149, 150, 151, 152, 155, 169, 229, 242, 244, 245, 247, 248, 249, 250, 251, 354, 359; Amon Carter Museum, 212; Dwight Chapin, 118 (deringer), 134, 163; Christie’s, 342; “Wild Bill” Cleaver, 358; Colt Collection of Firearms, Connecticut State Library, 158; Colorado Historical Society, 49; Connecticut Historical Society, 300; Thomas A. Conroy, 349, 368; Custer Battlefield National Monument, 48, 93, 102, 261, 350, 352; Daughters of the Republic of Texas (knife), 60; Michael Del Castello, 275 (rifle); Denver Public Library, Western History Department, 33, 63, 109, 170, 225, 235, 269, 278, 290, 359; Peter de Rose, 76, 95, 112, 141, 154, 211 (pistol), 288 (S & W); Chris de Guigne IV, 61, 353; Jim and Theresa Earle, 159, 162, 173, 174, 176, 356; Richard Ellis, 77, 84, 86, 114; Jeff Faintich, 51, 52, 53; Norm Flayderman, 6, 10, 54, 62-63, 96, 137, 139, 166, 202, 251, 264, 272, 273, 277, 293, 324, 350; Ft. Laramie Historical Association, 104, 112; John E. Fox, 73, 224; William C. Foxley, 259; Paul Friedrich, 168, 231, 238; Thomas Gilcrease Institute of American History and Art, 6, 37, 40, 145, 254, 255, 257, 268, 347; W. H. D. Goddard, 200, 201, 261; Gregg Grimes, 51, 52, 53; Enrique Guerra, 117, 208, 210, 226; Hagley Museum and Library, 40; Hugh E. Hayes, 153; Ralph Heinz, 23; Hunting World, Inc., 357; Matthew R. Isenburg (daguerreotypes and/or daguerreotype copper plate), 11, 16 (and New Orleans Picayune), 30, 36, 43, 83, 118 (daguerreotypes, Currier and Ives print, diary), 126, 130, 201, 126, 130, 201, 262, 288, 361; George Jackson, 200 (badge); Harry Jackson, Wyoming Foundry Studios, Cody, 373; Kansas State Historical Society, 21, 67, 87 (b & w photo), 88, 147, 157, 168, 189, 191, 230, 282; Michael D. Kokin (Sherwood’s Spirit of America), 3, 7, 8, 100; Martin J. Une, frontis., front of dust jacket, 4, 5, 17, (war bonnet), 44 (memorabilia), 49 (rifle), 82 (bow, arrows), 89, 106, 108, 173, 225, 287, 356; Robert M. Lee, 357; Dr. Harmon C. Leonard, 15, 19; Library of Congress, 92, 103; Lincoln County Heritage Trust, 219; Los Angeles County Museum of Natural History, 178 (revolver); Jack Lott, 352; Dr. Paul McCombs, 351; A. I. McCroskie, 260; John McWilliams, 60 (daguerreotype, ambrotype), 67, 84 (Walker and Californians, daguerreotypes left and right); Dr. Richard C. Marohn, 174, 175, 195; Marlin Firearms Company, 284-285, 345, 363, 372; Greg Martin, front endpaper, badge from back endpaper and back of jacket, 12, 14, 55, 92, 94, 100, 106, 110, 121, 124, 128, 129, 135, 138, 162, 164, 167, 173, 184, 185, 186, 187, 190, 194, 195, 196, 197, 206, 207, 210, 215, 216, 217, 219, 228, 237, 239, 240, 241,, 243; 263, 270, 275 (saddle), 280, 286, 296, 297, 298, 303, 304, 305, 308, 323, 336, 344, 363, 364; Tom Martin, 54, 64, 152, 155, 211, 212, 225, 226, 276; Milwaukee Public Museum, 55; Minnesota Historical Society, 65; Monroe County Historical Society, 263; Montana Historical Society, 27, 48 (rifle), 113, 212 223, 276, 283; Montezuma Masonic Lodge No. 1, Santa Fe, 46, 47; Dr. R. L. Moore, Jr., 17; Museum of the Fur Trade, 55; Museum of the American Indian, Heye Foundation, 21; National Archives (photos), 11, 30, 31, 32, 36, 68, 71, 103, 106, 211, 262 (b & w photo); National Cowboy Hall of Fame and Heritage Center, vi, 159, 192, 226, 266 (Sharps); National Museum of American History, Smithsonian Institution, 18, 22, 26, 45, 56, 78, 85, 88, 90, 91, 96, 111; Nebraska State Historical Society, 288; Arvo Ojala, 328, 335, 338, 343; The Old Print Shop, Inc., 6, 9, 43, 44, 55; Colonel William Orbello, 50; Oregon Historical Society, 55; Panhandle Plains Historical Museum, 191, 266; Patton Museum of Cavalry and Armor, Fort Knox, Kentucky, 113; Herb Peck, Jr., 20 (photo,), 35, 120, 127, 129, 155 236, 288 (b & w photo); N. Brigham Pemberton, 189, 214, 218, 355; Petersen Publishing Company, 315, 316, 340, 352; David R. Phillips, 96; Carl Press, 336; William H. Reisner, Jr., 49; Glode and Jody Requa, 132-133, 134, 163; Arthur J. Ressel, 51, 52, 53; Theodore Roosevelt National Historic Site, 274 (rifle); Theodore Roosevelt Collection, Harvard University Library, 221, 273; Joseph G. Rosa, 119, 159, 161, 172; Royal Canadian Mounted Police, 21; Dr. William Schultz, 84; J. Logan Sewell, 131; Lee Silva and the Greg Silva Memorial Old West Archives, 35, 95, 117, 140 (b & w, photo), 142, 143, 170, 178 (badge), 179, 193 (b & w photo), 195, 198, 199, 235, 236, 292, 303, 307, 308, 315, 357; James B. Smith, 64, 67, 76, 83, 267; Deke Sonnichsen, 373; Southwest Museum, 120, Phil Spangenberger, 233, 315, 316, 340, 342; State Historical Society of North Dakota, 19, 26, 144, 253; State Historical Society of Wisconsin, 64; Buck Stevens, 115, 148, 156, 213, 227, 232, 301, 313, 351; Arthur and Joe Swann, 38; Glen Swanson, 25; Fred Sweeney, 192; Margo Sweet, 44 (traps); the late Wiliam O. Sweet, 13, 24, 64; Tennessee State Museum, 38 (Arthur and Joe Swann Collection); Texas Ranger Hall of Fame and Museum, Waco, Texas, 359; Tiffany & Co., Corporate Division, 367; Time-Life and West Point Museum, 79; Richard J. Ulbrich (Indian peace medals, weaponry), 2, 11, 16, 17, 20, 30, 36, 39, 40, 41, 42, 43, 44 (muskets, knife), 118 (knife, gun, accessories), 125, 126, 130, 140, 141 (knife), 163 (knives, Lewis & Tomes pistols), 252, 262, 265, 281, 288 (rifle, knife), 348, 361; University of Oklahoma Library, Western History Collections, 161, 180, 188, 199, 266, 270, 312; University of Wyoming Western Heritage Center, 327; John K. Watson, Jr., 17 (gun), 30 (gun), 76, 81, 82, 83, 95, 265, 267; Michael Wayne, 315, 316; Wells Fargo Bank History Room, 241, 242, 246; Paul R. Wells, 279; West Point Museum, 100; A. A. White (period photograph), 5; Christopher T. Wilson (memorabilia), 20, 30, 36; C. B. Wilson, 157; David S. Woloch, 63, 117 (pistol), 302; Wyoming State Archives and History Department, 170, 221; Yale University, Beinecke Library, 263, 303; Yale University, Peabody Museum of Natural History, 69; Donald M. Yena, 15, 29, 39, 59, 153, 154, 186, 191; private collections, 51, 74, 75, 186, 222, 223, 266, 281, 369.