Jefferson
Randolph "Soapy" Smith (1860 to 1898) stands out as the greatest and
most infamous con artist of the Old West.
Born in Georgia, he rose to become
known as the "King of the Frontier Con Men." He operated across
Texas, Colorado and Alaska during theKlondike Gold Rush. His signature scam
was the "prize soap racket": he'd wrap bars of soap, claim some
contained $100 bills, and auction them off. Shills in the crowd would
"win" big prizes to hype it up, while most buyers got plain soap.
This simple sleight-of-hand built his reputation and fortune.
Smith didn't just run small street
hustles. He organized large gangs (the "Soap Gang") that ran shell
games, three-card monte, crooked gambling, and other cons. He bribed officials,
controlled parts of towns, and posed as a civic leader donating to causes while
ruling the underworld. His reign ended on July 8, 1898, when he was shot dead
in a gunfight.
In 1925, Victor Lustig, a
sophisticated swindler, was living in Paris. He noticed a newspaper article discussing the high cost of
maintaining the Eiffel Tower. Built in 1889 as a temporary structure for the
World's Fair, the tower had become a symbol of France but was increasingly
viewed as an expensive eyesore by some city officials. The article mentioned
debates about scrapping the iron structure for its metal value. This planted a
seed in Lustig's devious mind.
Lustig saw an opportunity that was
almost too perfect. He had fake letterhead printed identifying himself as the
Deputy Director General of the Ministry of Posts and Telegraphs. He then
invited five prominent scrap metal dealers to a confidential meeting at the
luxurious Hôtel de Crillon.
During the meeting, Lustig explained
with feigned reluctance that the French government could no longer afford to
maintain the Eiffel Tower. Rather than face public embarrassment, officials had
secretly decided to sell the tower for scrap. He claimed the meeting was highly
confidential—the government wanted to avoid backlash from citizens who loved
the landmark.
To make the story believable, Lustig
arranged a private tour of the tower itself. He showed the dealers around,
pointing out its massive iron beams and discussing potential profits from
melting it down.
One dealer, André Poisson, was
particularly hooked. After the group meeting, Lustig took the man aside and
hinted that, for the right price, he could ensure the dealer got the contract.
Lustig demanded a bribe roughly
equivalent to millions today on top of the official purchase price. The dealer Poisson,
believing he was securing a deal of a lifetime, paid the bribe and agreed to
the terms.
A few days later, Lustig collected the
money and vanished. Reporting the crime would mean admitting he tried to buy a
national monument in a shady deal, so, humiliated and embarrassed, the scrap
dealer Poisson chose silence.
What makes Lustig's story legendary is
what happened next. After fleeing to Austria with the loot, Lustig read
newspaper reports about the scam—yet no one had publicly identified the victim
or the perpetrator. Astonishingly, Lustig returned to Paris months later and
ran the exact same con a second time with a new group of scrap dealers.
This time, however, one of the targets
became suspicious and reported the scheme to the police. Lustig narrowly
escaped arrest and fled to the United States.
In America, Lustig continued his
criminal ways. He famously conned Al Capone (though he wisely returned the
gangster's money to avoid deadly consequences) and pulled off numerous other
elaborate schemes. His luck eventually ran out in 1935 when he was arrested for
counterfeiting and sent to Alcatraz. He died in 1947 from complications of
pneumonia while serving his sentence.
The
American Revolution (1775 to1783) inspired generations of artists who sought to
capture its drama, heroism, sacrifice, and ideals. While many works were
created long after the events—often blending historical fact with artistic
license and symbolism—these paintings have profoundly shaped how Americans
visualize their founding struggle. They range from near-contemporary propaganda
pieces to grand 19th-century historical epics. Among the best:
This is arguably the single most
famous painting of the Revolution. German-American artist Emanuel Leutze
depicted General George Washington leading his troops across the icy Delaware
River on Christmas night 1776 for a surprise attack on Trenton. Washington
stands dramatically in the boat, flag waving, amid choppy waters and massive
ice floes. Though historically imprecise (the actual crossing used larger
Durham boats at night, and the flag shown post-dates the event), it symbolizes
leadership, perseverance, and audacity. Housed in the Metropolitan Museum of
Art, it became a cultural icon shortly after its debut.
The
American Revolution (1775 to1783) inspired generations of artists who sought to
capture its drama, heroism, sacrifice, and ideals. While many works were
created long after the events—often blending historical fact with artistic
license and symbolism—these paintings have profoundly shaped how Americans
visualize their founding struggle. They range from near-contemporary propaganda
pieces to grand 19th-century historical epics. Among the best:
John Trumbull, a Continental Army
veteran often called the "Painter of the Revolution," created this
iconic scene of the Committee of Five (including Thomas Jefferson, John Adams,
and Benjamin Franklin) presenting the Declaration draft to Congress on June 28,
1776. The painting idealizes the moment with key founders prominently featured
in a grand hall. Multiple versions exist; the large one hangs in the U.S.
Capitol Rotunda. It prioritizes symbolic unity over strict historical accuracy.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Sarah Rosetta Wakeman (1843 to1864) enlisted in 1862 as Private Lyons Wakeman in the 153rd New York Infantry. She served nearly two years,
participating in the Red River Campaign. Her letters home—discovered decades
later—provide rare primary insight into a female soldier's experiences,
including pride in her service and hopes for family support.
Wakeman died of dysentery in a New
Orleans hospital in 1864 and was buried under her male name in Chalmette
National Cemetery. Her sex remained undiscovered during her service.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Frances Claytonenlisted with her husband in a
Missouri Union unit as Jack Williams. She reportedly fought in 18
battles, including Fort Donelson (where she was wounded), Shiloh, and Stones
River (where her husband was reportedly killed in front of her). She continued
fighting afterward.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
On the Confederate side, Loreta Janeta Velázquez(1842 to 1897), a
Cuban-born woman, served as Lieutenant
Harry Buford. She raised a company at her own expense, fought at First
Bull Run and Shiloh, and worked as a spy. Her 1876 memoir,The Woman in
Battle, is colorful but debated for exaggerations.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Jennie Hodgers(1843 to 1915), an Irish immigrant,
enlisted in 1862 as Albert D.J. Cashierin the 95th Illinois Infantry.
She fought in approximately 40 engagements, including the Siege of Vicksburg,
and served until the war's end without detection.
Cashier continued living as a man
postwar, working as a laborer and drawing a pension. Her identity was only
revealed in 1913 during a medical examination for dementia.
Historians
estimate that between 400 and 1,000 women—on both Union and Confederate
sides—disguised themselves as men to enlist and fight in the American Civil War.
Many
served undetected for months or years, participating in major battles, enduring
camp life, and facing the same risks as their male comrades.
One of the best-documented and most
celebrated is Sarah Emma Edmonds(1841 to 1898). Born in Canada, she
fled an abusive home and lived as a man before the war. In 1861, she enlisted
in the 2nd Michigan Infantry as Private Franklin Thompson.
Edmonds served as a nurse, mail
carrier, and spy. She participated in key campaigns, including First Bull Run,
the Peninsula Campaign, Fredericksburg, and Antietam. She deserted in 1863
after contracting malaria, fearing discovery in a hospital. After the war, she
married, had children, and successfully petitioned for a veteran's pension in
1886—the only woman known to receive one for Civil War service.
Galusha Pennypacker became a general officer at the age
of 20 and was the youngest Union general (and possibly the youngest in U.S.
Army history at that rank). He enlisted at 16, rose from private to colonel,
and led infantry in the Army of the James. Critically wounded leading a charge
at the Second Battle of Fort Fisher in 1865, where he planted regimental
colors; he received the Medal of Honor and a brevet promotion to brigadier
general. He was too young to vote for Lincoln, the President who promoted him.
He stayed in the regular army after the Civil War.
There were
notably young officers, often in their early-to-mid 20s, who rose rapidly to
brigadier general, especially in the cavalry of the Army of the Potomac.
The most prominent group includes
three cavalry officers promoted from captain to brigadier general in June 1863,
skipping several ranks, often called the "boy generals."
George Armstrong Custer. Promoted at age 24, Custer was a
flamboyant West Point graduate known for his bold charges and long hair. He
commanded the Michigan Cavalry Brigade at Gettysburg and later led aggressively
in the Overland Campaign, Shenandoah Valley, and Appomattox Campaign. His
division played a key role in pursuing Lee's army. Post-war, he became famous
(and died) at the battle of the Little Bighorn.
Wesley Merrittpromoted at age 27, Merritt was more
methodical and professional than Custer, with whom he had a rivalry. He
commanded a brigade and later a division in the Cavalry Corps. Key actions
included Gettysburg, the 1864–65 Virginia campaigns, and the final pursuit to
Appomattox. He had a long, distinguished post-war career in the Indian Wars and
the Spanish-American War.
Elon J. Farnsworthpromoted at age 26, Farnsworth was
promoted alongside Custer and Merritt but was killed at Gettysburg on July 3,
1863—just days into his generalship. He led a controversial and costly charge
against Confederate infantry and was mortally wounded. His death symbolized the
risks of youthful, aggressive leadership.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
Loops and Swift Horses Are Surer Than Lead By Charles Russell (1916). Cowboys lasso a grizzly bear
harassing cattle, preferring ropes over bullets to avoid harming livestock.
It demonstrates practical
cowboy ingenuity and Russell’s accurate depiction of ranch work and wildlife
encounters.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
The Buffalo Hunt by Charles M. Russell (1899). Native American hunters on horseback
pursue bison in a high-action chase.
Essential for portraying
traditional Indigenous lifeways and the centrality of the buffalo to Plains
cultures.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
Laugh Kills Lonesome by Charles M. Russell (1925). Cowboys around a campfire sharing
stories and laughter under the stars, one of Russell’s late, reflective works.
A poignant meditation on
camaraderie and the end of an era, it reveals Russell’s storytelling heart and
philosophical outlook on frontier life.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
Bronc to Breakfast by Charles Russell (1908). A bucking bronco disrupts a cowboy camp at
mealtime, sending the cook and utensils flying amid laughter and chaos.
This energetic scene
exemplifies Russell’s ability to blend action, humor, and daily ranch life,
highlighting the unpredictable dangers and camaraderie of cowboy existence.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
In Without Knocking by Charles M. Russell (1909). Cowboys on horseback burst through the doors
of a saloon, guns blazing and cards flying, in chaotic celebration or
confrontation. Housed at the Amon Carter Museum.
One of Russell’s most famous
“cowboy” paintings, it captures the rowdy, untamed spirit of frontier towns.
Its dynamic composition and humor made it a cultural icon of Western saloons
and revelry.
Charles Marion Russell lived the life he painted. He arrived in Montana at
age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed
himself in the open-range ranching culture, Native American life, and rugged
landscapes of the northern plains. Self-taught and deeply authentic, Russell
produced over 4,000 works, including:
The Tenderfootby Charles M. Russell (1900).A well-dressed Eastern newcomer
awkwardly attempts to mount or handle a horse, surrounded by amused cowboys in
a ranch setting.
It humorously contrasts
greenhorns with seasoned cowhands, showcasing Russell’s storytelling wit and
keen observation of frontier social dynamics.
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