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9 Unsolved Mysteries of the Wild West

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The lore of the Old West—stories of gunslingers, tribal and territorial warfare, missing treasure—is undying. But are the historical records to be believed? I interviewed W.C. Jameson, the famed treasure hunter, hardcore Texas cowboy, and author of over 90 books on Old West history—including Unsolved Mysteries of the Old West and the Beyond the Grave series. He tends to approach the official record more like a single piece of evidence amongst a larger crime scene. “I look for the clues that are there and chase them down,” he says. As a result, he’s drawn some conclusions of his own.

1. Did Sheriff Pat Garrett Really Kill Billy the Kid in 1881?

After William H. Bonney escaped from Lincoln County Jail in New Mexico while awaiting hanging for the murder of Sheriff William Brady, the record will tell you that Sheriff Pat Garrett tracked the outlaw, better known as Billy the Kid (above, right), to a residence in Fort Sumner where he shot and killed him. Questions abound, however, as to Garrett’s trustworthiness and the reasons for the prompt disposal of the victim’s body. Even one of his deputies present for the shooting said that the man Garrett shot was not the fugitive they had been looking for.

When a man going by the name Brushy Bill Roberts (above, left) surfaced in Texas in 1950 seeking pardon for the crimes of Billy the Kid, the media took notice. His case was eventually thrown out by the governor of New Mexico, who agreed to meet with him. The Governor did not believe Roberts was Billy the Kid. Roberts died a short time later, reportedly ashamed by the media circus that followed his confession. Jameson, however, is one of many convinced that Roberts was the real deal. “We started out trying to prove Roberts was lying,” he says of his investigation. One by one, though, all of Roberts’ claims were eventually verified. A statistical facial recognition analysis comparing Roberts to known images of The Kid suggested that the two men were actually one and the same. Jameson says that he’s challenged the so-called “traditionalist academics” that hold to Garrett’s official account of The Kid’s death to debate him on the subject, but none have accepted thus far.

2. Where is the Head of Pancho Villa?

Wikimedia Commons

This bandit-turned-hero of the Mexican Revolution retired from the battlefield after negotiating terms of withdrawal with the Mexican government in 1920—only to be assassinated in an ambush three years later. In 1926, Villa's body was exhumed mysteriously in the dark of night and his head, among other things, was removed and taken from the gravesite.

Jameson says the “prevailing theory” was that a rival Mexican general had been behind the deed. Another story held that the head was on its way to be studied by neurologists in Chicago. Others claimed the infamous Yale fraternal organization known as Skull and Bones held the skull in their vault for use in ritual rites. Jameson says that the evidence behind all of these theories is scant. (Skull and Bones has also been legally implicated in the theft of Apache Chief Geronimo’s skull, though no evidence exists that Geronimo’s head is actually missing.)

3. Where is Ben Sublett’s Secret Gold Mine?

Wikimedia Commons

In his book Unsolved Mysteries of the Old West, Jameson asserts the claim that Ben Sublett found a rich crop of gold ore in the Guadalupe Mountains of West Texas in the 1880s has been verified. The location of this mine, though, has been a subject of debate since Sublett’s death in 1892. Sublett says he found a canyon amongst the limestone cliffs in the Texas desert where a simple “rake of the hand through the gravel” was sure to yield a fistful of near-pure gold nuggets. Sublett even showed the location of the mine to a number of people, though none were ever able to find it in subsequent searches.

4. What Is a Thunderbird and Where Are They Now?

Pterodactyl engraving via Wikimedia Commons

Multiple newspaper articles from California and Arizona in the late 1800s report sightings of a giant winged creature resembling what would likely be called a pterodactyl today. A photo of one such beast nailed to a barn in Tombstone is said to have been widely circulated (Jameson says he’s seen it), though nobody has ever been able to produce a copy of the image.

A Cherokee treasure hunter who was a peer of Jameson’s claims to have dug up several feathers—each over 18 inches long with quills “as big around as one of his fingers”—from a cave in Utah while looking for a long-lost cache of Spanish silver. Above the mouth of this cave was an ancient pictograph of an enormous horned bird. Jameson, who says he has one of the original feathers in his collection, asserts that the feathers have been examined by a number of ornithologists, but that the species responsible for producing them has yet to be identified.

5. Where Is the Lost Dutchman’s Gold Mine?

Wikimedia Commons

It's perhaps the most talked-about lost treasure in American history, but there seems to be more myth than fact surrounding the gold found in Arizona by German immigrant Jacob Waltz. A party of treasure hunters moved to the Superstition Mountains of Arizona in search of Waltz’s cache shortly after his death in 1891 and, still today, an estimated 8000 visitors travel to Lost Dutchman State Park each year in hopes of striking it rich. It was said that Waltz mined his claim in the Salt River Valley of Arizona every winter between 1868 and 1886, though the source of his ore was never found.

Jameson, who wrote about the missing mine in his book Lost Mines and Buried Treasures of Arizona, suggests that the Lost Dutchman’s Mine was probably not lost at all, but says, “the chances are that the Lost Dutchman Mine was just simply mined out.” So, if you’re planning on searching for a lost treasure of your own anytime soon, it may be best to start somewhere else first.

6. Did Butch Cassidy Return to the United States?

Wikimedia Commons

It has been said that Butch Cassidy and his accomplice Henry Alonzo Longabaugh ("the Sundance Kid") were the only outlaws who lived to see themselves portrayed on film. Though the record states—and Hollywood would have you believe—that the famous bank robbers were killed in a gunfight with the Bolivian military after fleeing the U.S., many of Cassidy’s friends and family members report that he actually visited them several times after he was said to have been killed.

To complicate matters, the man responsible for identifying the two victims of the shootout in South America was a loyal friend of Cassidy’s—perhaps loyal enough to bolster Cassidy’s odds of a successful escape by falsifying the ID. Another of Cassidy’s friends was asked to look at photographs of the bodies in question and confirmed the death of Longabaugh, but said the body previously identified as Cassidy was someone else entirely.

7. Did the U.S. Army Secretly Claim the Treasure at Victorio Peak for Their Own?

Wikimedia Commons

The legend of the Victorio Peak Treasure begins in the 1600s when a dying soldier stumbled into a New Mexico monastery and confessed his knowledge of a secret cache of gold ore in the mountains to a monk named Padre Felipe LaRue. LaRue put together a band that purportedly located the mine and successfully drew ore from it for three solid years. When the Mexican Army was sent to overtake LaRue’s operation, he ordered workers to close the entrance to the mine with a landslide and, soon thereafter, LaRue’s entire camp took information about the location with them to the grave at the hands of the soldiers.

A New Mexico couple named Ernest and Ova Noss were said to have stumbled upon a narrow entrance to this mine while hunting in 1937, and then returned several times to collect the heavy gold ingots from the secret location. When Ernest tried to open the mine further with a blast of TNT, it was inadvertently sealed despite repeated attempts to reopen it. When the White Sands Missile and Bombing Range was expanded in 1955 to include the land, Ova Noss supposedly sent a party to investigate and they reported that Army officials were seen digging near the site. Still, the Army never made any mention of the Victorio gold.

In 1977, ground-penetrating radar identified an open area underground near where the Noss’ claim might have been. In the 1990s, a locked steel door was said to have been found covering the site of the original shaft. Whatever the case, a reported 88 solid-gold ingots were brought forth from the mountains of New Mexico by the Noss couple, and it is unlikely the public will ever know exactly what became of the site and its associated treasure.

8. Did Outlaw Bill Longley Elude Execution?

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Bloody Bill Longley had more than 30 killings to his name before he was hanged at the age of 27, suggesting that Longley was one of the most prolific and psychopathic gunslingers in the Wild West. But was he successfully executed and buried in Texas?

Longley’s acquaintances held that Bloody Bill escaped from prison before being hanged and lived out the remainder of his days as a Louisiana cotton farmer under the name John Calhoun Brown. Longley had escaped prison twice before his recorded execution in 1878. Did a third escape keep this notorious killer from the gallows indefinitely?

Although Smithsonian anthropologist Douglas Owsley claims to have proven through DNA analysis that the body buried in Giddings, Texas did in fact belong to the notorious outlaw, Jameson says “all that (DNA) proves is that (the body) was a Longley relative.” Skeptics are quick to point out that a number of Longley relatives are buried in the same cemetery and that poor records make accurate identification of the body in question difficult.

9. Where Is Cochise Buried?

Dragoon Mountains via Wikimedia Commons

The body of legendary Apache Chief Cochise is buried somewhere in the wilderness of his former Chiricahua stronghold southeast of Tucson, Arizona, but the exact location of his remains is unknown to this day. Cochise and his band of Apaches occupied the area near the former location of Fort Bowie for about 15 years, most of which were marked by extreme violence on both sides. Cochise died in 1874, presumably of natural causes, and his body was buried in a traditional ceremony along with his horse and dog somewhere near his homestead. The chief’s tribespeople took the location of the grave with them when they passed on themselves.

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Brigido Lara, the Artist Whose Pre-Columbian Fakes Fooled Museums Around the World
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In July 1974, Mexican authorities sent a man named Brigido Lara to jail. His crime wasn't a violent one, but it was serious nonetheless: Archaeologists from the Instituto Nacional de Antropología e Historia (INAH), a Mexican federal government bureau devoted to preserving the nation's heritage, claimed that Lara had been found with ancient ceramic artifacts looted from archeological sites in the state of Veracruz.

Lara was convicted of stealing and smuggling antiquities, but he insisted he wasn't a thief—and he could prove it. All he needed were tools and some clay brought to his jail cell. 

FORGING A CAREER

Lara grew up in Veracruz, in the village of Tlalixcoyán. While his parents were peasant farmers, Lara showed artistic talent—specifically, a knack for creating figurines from clay. Veracruz is home to many archaeological sites that date back to hundreds and thousands of years before the arrival of before Christopher Columbus, and the young Lara would often find ancient terra-cotta figurines in the fields and near rivers. He claims that by the time he was 9 years old, he was making versions of these artifacts using clay harvested from a local stream.

As Lara grew older, his skill set expanded. He reportedly taught himself how to prep and oven-fire local clay, and began making objects that mimicked those of several ancient Mesoamerican cultures—imitation Olmec pots, Maya polychrome vessels, and figurines in the Aztec, Mayan, and Totonac styles. He began specializing in replicating works by the Totonacs, a culture that flourished in central Veracruz until the Spanish Conquest introduced diseases that ravaged the communities. These figurines ranged in size from large to tiny, and often depicted mythological gods wearing masks and headdresses.

It's not entirely clear whether Lara began making these figurines for fun or profit. But according to the man himself, traveling dry-goods merchants had noticed his talents before he had even reached his teens. They accepted his "interpretations," as he called his early work, in lieu of cash—then sold them on the black market. Looters also came to Lara, asking him to fix and restore stolen works. Eventually, the artist wound up working in a Mexico City atelier that produced forgeries.

No detail was too tiny for Lara. He visited archaeological sites to study just-dug-up artifacts, and harvested clay from the surrounding region to sculpt exact likenesses. He later told Connoisseur magazine that for true authenticity, he even crafted his own primitive tools and stockpiled 32 grades of cinnabar—a reddish form of mercury used by the Olmec, an ancient Mesoamerican civilization that existed between 1200 BCE and 400 BCE—for precise pigmentation. He finished his works with a ancient-looking patina made from cement, lime, hot sugar water, urine, and other ingredients, and coated the final products with a seal made from dirt and glue.

But even though Lara was a stickler for the details, he also took artistic liberties with some of his "interpretations," adding elements that wouldn't have appeared on the original artifacts. Sometimes he would include a fanciful new detail from his imagination: a winged headdress, or one that writhed with serpents; a duck-billed mask, or a dramatic, lifelike pose.

Lara didn't consider himself a forger. "My style was born with me," he told The New York Times in 1987. "I didn't learn from anyone. I studied the pre-Columbian pieces in my town that came from the burial mounds, and I used the ancient techniques. I made these pieces and I am very proud."

But by young adulthood, he'd also become a businessman, selling his unsigned pre-Columbian replicas to middlemen who re-sold them to illegal art collectors both domestically and abroad. "I was aware that many buyers then sold them as authentic pre-Hispanic works," Lara admitted to Art & Antiques magazine years later.

COMING CLEAN

Lara's forgery career may have continued undetected had he and four of his buyers not been apprehended in 1974 and charged with trafficking in pre-Columbian works. The police didn't consider Lara an artist or a forger—his works looked so real, the authorities thought they'd been dug right out of the ground.

Lara was sentenced to 10 years in jail. To regain his freedom, he devised a plan: He asked law enforcement officials to grant his lawyer permission to bring him clay and art tools. Right there in his cell, Lara created replicas of the antiques he'd reportedly stolen. Experts from the INAH examined the earthen artworks, and declared them "genuine" ancient artifacts.

The stunt worked. Lara had proven he had made the works himself, not smuggled them out of ancient sites. Finally convinced of his innocence, prison officials released him in January 1975 after he'd served only seven months of his sentence.

After his release, Alfonso Medellín Zenil, head of the Museo de Antropología de Xalapa, offered Lara a job. "Our policy is, when you can't beat them, hire them," Fernando Winfield Capitaine, then the museum's director, joked to Connoisseur.

The Museo de Antropología is home to an extensive collection of artifacts from Mexico's Gulf Coast produced by ancient indigenous peoples such as the Olmec, the Huastec, and the Totonac. Lara was hired to restore these works as well as to make replicas for the museum's gift shop.

But his career as a forger wasn't behind him quite yet.

REVELATIONS AND REFLECTIONS

In the early 1980s, Veracruz governor Agustín Acosta Lagunes began repatriating pre-Columbian works from abroad, expanding the collections at the Museo de Antropología de Xalapa. But when Lara saw some of these imported works, which had been purchased at Sotheby's auction house in New York City, he pronounced them fakes. He knew, he said, because he'd made many of them—including a figure of a male dancer that had been exhibited at the Los Angeles County Museum of Natural History’s “Ancient Art of Veracruz” exhibit in 1971.

Little by little, it emerged that Lara’s works might have made their way into pre-Columbian art collections around the world, including in prestigious museums such as the Dallas Museum of Art and the Saint Louis Art Museum, as well as in renowned private collections. Lara claimed credit for a 3-foot statue of the Mexican wind god Ehecatl in New York City's Metropolitan Museum of Art, and out of approximately 150 works on display in the "Ancient Art of Veracruz" exhibit, asserted that he had made about a dozen.

Among the most notorious fakes Lara claimed to have created were three life-size ceramic sculptures in the Dallas Museum of Art that had once belonged to film director John Huston. "If you look at them closely, they are copies," Lara told the Associated Press in 1987. The works were attributed to the Totonac, and thought to have been made between 600 to 900 CE. Lara, however, claimed to have produced them during the 1950s: "The details are different than the originals … the details in the breast decorations, in the shoulder patches and so on," he said. "They are very different. They are originals of course—my own."

As news spread about Lara’s forgeries, the Saint Louis Art Museum, the Met in New York City, and the Dallas Museum of Art responded to the controversy by taking works off display. "All three museums acknowledged that many of the Veracruz-style objects in their collections were problematic," Matthew H. Robb, a former curator at the Saint Louis Art Museum who is now chief curator at the Fowler Museum at UCLA, tells Mental Floss.

Nobody knows exactly how Lara’s creations made their way into American museums (Lara blamed various high-profile art traffickers and dealers), but experts say they noticed when suspicious artifacts resembling his work first began popping up in the 1950s, as pre-Columbian art was becoming more and more popular among American art collectors. "They appeared out of nowhere, resembling nothing previously excavated," Edmund Carpenter, a New York archeologist, told The New York Times. "I saw some in New York, Los Angeles, Paris. Museums bought them, big collectors bought them. But nobody asked, 'How come a big find like this?'"

Bryan Just, a curator and lecturer on pre-Columbian art at the Princeton University Art Museum, chalks the phenomena up to scholarly ignorance. At the time, "there wasn't a lot of material available for comparison," he tells Mental Floss. "There are many regions, including Veracruz … where not a whole lot of archeology had been done. So for a lot of these [new] artworks, there weren't great sources to reference that answered questions like, 'How should this stuff really look?' And at that time, what had been excavated may not have been published."

There was also a shortage of experts to consult because the very idea of pre-Columbian relics as art was still relatively new. Connoisseurs only began collecting and selling these works in the early 20th century, and university scholars didn’t begin offering pre-Columbian art history courses until the 1950s, according to Just.

Not that collectors were necessarily consulting scholars in the first place: "If you were considering work that was offered to you by a dealer, you may have not wanted to consult a colleague who's an expert in that particular area if they work at a collecting institution," Just says. "You know, out of concern that they might snag it up before you do."

Fortunately, modern scholars have access to a greater body of knowledge about pre-Columbian art than their predecessors. "In retrospect, when I see Lara's stuff now, it seems pretty obvious to me that it's wrong," Just says. "It doesn't make sense when you think about it in terms of the broader context of what we know about these particular traditions."

But even today, it isn't always easy to ascertain what's real and what's not when it comes to pre-Columbian art. Experts sometimes use thermoluminescence tests, which involve removing a tiny piece of the object, grinding it up, heating it in a furnace, and observing how much light it emits. Ideally, this process can measure how long ago the clay was fired, but the results can be skewed if a work was recently exposed to extreme heat or had been cleaned.

Another issue is that "lots of these complicated ceramic sculptures are pastiches," Victoria Lyall, a curator of pre-Columbian art at the Denver Art Museum, tells Mental Floss. Artists "will use bits of older sculptures and put them back together. So you have to test a lot of different spots to really get a better sense of whether the entire piece is fake."

X-rays are a good way to spot a composite, but they interfere with thermoluminescence test results, putting conservationists between a rock and a hard place. Furthermore, clays from certain regions—like the clay Lara worked with in Veracruz—reportedly aren't as conducive to thermoluminescence testing.

A LEGACY OF LIES

Lara is now in his mid-70s. He no longer restores antiques at the Museo de Antropología de Xalapa full-time, but he still works as a consultant there, and he continues to make art under his own name. However, his legacy will forever be tied with the difficult history of pre-Columbian artwork. According to experts, it's possible that his artworks are still masquerading as artifacts around the world, and that he may have even helped shape modern scholars' perception of pre-Columbian art from Veracruz.

However, it's also feasible that Lara's stories are a composite of fact and fiction—just like his work. The artist claims to have made thousands of forgeries (one estimate places the number at more than 40,000 pieces), but some experts say it would have been nearly impossible for Lara—who was only in his 30s when he was arrested—to have produced so many works in just a few decades.

Plus, the timelines don't always add up: Lara "was about 8 years old at the time that the [Ehecatl statue] was supposedly manufactured and purchased by the Met," Lyall says.

Lara also claims to have been self-taught, but some have speculated that he's stretched the truth about his natural talent. He may have instead learned his trade by apprenticing at a young age in a Veracruz workshop that specialized in forgeries, theorizes Jesse Lerner, a professor of media studies at Pitzer College. Lara "denies all that, but it's hard to know … Just by the nature of his business, it's kind of shady," Lerner tells Mental Floss. (Lerner's 1999 documentary Ruins—a look at the history of Mexican archeology and the traffic in fakes—features an interview with Lara.)

This workshop might have sold both Lara's wares and similar works to international collectors through an established underground market. Such a scenario would explain the artist's familiarity with pieces in faraway collections, like the Met's statue, which he could describe in great detail despite likely having never produced it with his own hands. Because forgeries aren't exactly signed, it's difficult to know for sure which pieces are Lara's and which may have been made by other forgers.

Either way, Lara's frauds are a reminder to avoid believing everything you read—even if it's a label in a museum. And they offer another lesson, too.

"The types of ancient works that Lara and other forgers were imitating, they weren't intended as aesthetic objects," Lerner says. "They weren't for museums. They were representations of this whole world view of cosmic forces."

That makes forgeries like Lara's particularly problematic. "If the only way we can access that worldview is through these objects that survive, [Lara] is just adding bad data to the pool of data that we have available. He's messing up everyone's understanding of who these figures are representing, and how their universe was understood and functioned."

In other words, sometimes fakes don't just fool art lovers—they can also change our understanding of history.

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10 Cold War Artifacts From the Real-Life Bridge of Spies Auction
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U-2 designer Kelly Johnson with Francis Gary Powers (left to right).
U.S. Air Force, Wikimedia Commons // Public Domain

The 2015 Steven Spielberg film Bridge of Spies tells the story of a captured U.S. Air Force pilot who was released from Soviet prison in exchange for the freedom of a KGB spy during the Cold War. To mark the 55-year anniversary of that historic prisoner swap, Guernsey’s is auctioning off items that belonged to the real-life military hero Francis Gary Powers.

The artifacts, donated to the auction house by Powers’s son, depict what life was like for an American spy during the Cold War. The Espionage Collection includes gear built for high-altitude covert missions, as well as documents written by Powers during his imprisonment. Here are some of the most fascinating objects going up for bid on October 6 and 7.

1. HIGH-ALTITUDE FLIGHT SUIT

Flight suit used on air force jet.

On May 1, 1960, Francis Gary Powers attempted to fly deeper into Soviet airspace than any U.S. reconnaissance mission had gone before. The U-2 plane was famously shot down and its pilot captured, turning what should have been a covert operation into a historic Cold War pressure point. When the auction opens in October, one lucky bidder will snag a perfect copy of the flight suit Powers wore that day. Never-been-worn, the suit still includes its two intact air hoses, similar to those that kept Powers alive when flying through the upper atmosphere. Similar technology was used to build the gear worn by astronauts and cosmonauts during the space race.

Starting bid: $5000

2. INFLATABLE RAFT

Raft used on military jet.

While the flight suit above was never actually worn by Powers, this raft was likely on board his U-2 with him the day it was shot down in 1960. Experts believe the item was salvaged and displayed in a Soviet museum following the failed reconnaissance mission. After the museum was looted, the raft was allegedly used by local fishermen for years before it was returned to Powers’s family. The flotation device measures 7-by-15-feet folded and features its original plastic inflation tube still bearing old teeth marks.

Starting bid: $750

3. SOVIET PROPAGANDA POSTER

Soviet propaganda poster.

The Bridge of Spies auction features several Soviet Union propaganda posters, including prints of Lady Justice and Vladimir Lenin. This Soviet workers poster, with a gold hammer and sickle against a field of grain, showcases some of the most iconic imagery from the era.

Starting bid: $250

4. FLUID CONTAINMENT VESSEL

Fluid containment vessel used by air force pilots.

When you've got to go, you've got to go—even if you’re a spy in the middle of a top-secret mission thousands of miles above Soviet soil. For long U-2 flights, Powers zipped this container into one of the pockets of his suit and pulled it out when he needed to relieve himself. As the item description reads, “This historic and straightforward piece of equipment proves that smart design can take you great distances.”

Starting bid: $500

5. HOUSE OF UN-AMERICAN ACTIVITIES BOOKS

Six Cold War-era booklets spread out on a table.

The U.S. government formed the House Un-American Activities Committee in 1938 to investigate citizens and organizations with suspected Soviet leanings. These six booklets dictate hearings from the committee in 1960 and outline the “subversive activities of anyone believed to have ties to Communist organizations.” They provide important context for how Cold War tensions manifested in America the year Powers was captured.

Starting bid: $200

6. POWERS’S PRISON JOURNAL

Cover of an old notebook.

Faced with up to 10 years in USSR custody, Gary Powers started teaching himself Russian shortly after he was sentenced. His notebook from that time contains two pages of English words paired with their Russian definitions handwritten in pencil. Despite his status as a prisoner of war, this behavior actually got him into trouble back in the States. Anti-Soviet sentiments were so high at the time that Powers was branded a traitor for daring to learn the language of the enemy. Fortunately this label didn’t last forever, and today he’s considered a military hero.

Starting bid: $750

7. GARY POWERS’S TRENCH COACH

Tan trench coat on a coat hanger.

Nothing says “spy” like a good, vintage trench coat. This tan London Towne jacket worn by Powers in the 1960s was originally made for Army officers. The durable cotton garment features one visible button at the neck and four concealed lower buttons for a sleek, mysterious look.

Starting bid: $600

8. FALLOUT FORECAST MAP OF THE U.S.

Map of the U.S. framed behind glass.

Nuclear conflict wasn’t just a vague threat for many Americans during the Cold War—it was an imminent reality they needed to prepare for. This atmosphere of terror produced such items as this nuclear fallout map, published by the District of Columbia Office of Civil Defense in 1960. The 28.5-by-40.5-inch map depicts the contiguous United States with the longitude and latitude points of potential radioactive decay.

Starting bid: $200

9. PIECE OF THE IRON CURTAIN

A section of lattice iron fencing.

In addition to being one of the most powerful metaphors of the Cold War, the Iron Curtain was also a literal barrier that divided Eastern and Western Europe in some rural parts of the continent. This rare 11-by-16-inch patch of iron fencing shows the welded design that prevented many Eastern Europeans from escaping Communist rule from the late 1940s to 1991.

Starting bid: $350

10. A LETTER FROM POWERS TO HIS WIFE

Pages of a letter and a postcard.

Powers wrote a letter to his wife Barbara on December 13, 1960, seven months after his capture. He wrote of his condition in the facility as well as his outlook on his situation. "As long as I do not lose hope everything will be alright,” he said. “I haven't lost hope yet." He was also interested in the new president-elect John F. Kennedy, who would come to have a major impact on the Cold War following his inauguration in 1961. Powers wrote: "Would you send me a copy of Kennedy's inauguration speech and any other statements he makes. I am very interested in what his views are and especially what his foreign policy will be..." As well as giving insight into Powers’s state of mind during this time, the document is also a Russian artifact, sporting full-color Soviet-era stamps.

Starting bid: $1500

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