Composite Sword

[A Senefelder]

Jim, thanks so much for the input. I will pass this on to my friend. He's had this one for a while and really was at a loss about it. My ideas regarding its possible fraternal connection were guesswork at best as it is an area i'm weak in. With its original guard in place I imagine this sword would have been very quick in the hand. Your idea of a Tyler sword would potetially be a good road of investigation regarding this piece.

[Jim McDougall]

You're welcome Alan, and your observations and thoughts were well placed and I wouldnt consider them guesswork. Most of what we can do with these kinds of anomalies is try to place as sound ideas as possible with information known.
In looking at the wrapped grip and quillons, another possible association for hilt components would be the cottage industry in the Victorian period for reproduced examples of arms and armour. One of the leading producers was the atelier of Ernst Schmitt in Munich ("Arms and Armour from the Atelier of Ernst Schmitt" , Mowbray, 1967) and this is noted on the MyArmoury forum.
He produced from 1870s-1930s and numbers of his items are found at the Higgins Armoury in Worcester, Mass.

Authentic rapier and broadsword blades often entered the U.S. via Mexico and the Spanish Colonies, for example numbers of the swords with blades carrying the 'Spanish motto' , i.e. Draw Me Not Without Reason' etc. were captured during the Mexican-American War and sometimes found use on American officers swords. In the same manner, I have discovered a number of instances where these type blades have been found in Tyler swords in various Masonic lodges in research over the years.

All the best,
Jim

[A Senefelder]

Jim, very familiar with Mr. Schmitt ( his ID'ed work often trades at the same value as low to mid level Renaissance originals ). I don't know if you'd seen this before http://www.myarmoury.com/feature_schmidt.html but the interactive feature of the article allowing you to compare Schmitts work with the originals he was copying is neat http://www.myarmoury.com/feature_schmidt_comp.html. Having seen and owned a few very nice Victorian reproductions built using some original components ( something I understand Mr.Schmitt did on occasion, using an original armour component and constructing a harness around it to match ) my first thought when my friend showed it to me was that it was Victorian. As the evening went on and I contiued to handle the piece I had a harder and harder time ignoring the symbols in the guard and the possible fraternal/Freemasonic character they may have.

[Jim McDougall]

Originally Posted by A Senefelder

Jim, very familiar with Mr. Schmitt ( his ID'ed work often trades at the same value as low to mid level Renaissance originals ). I don't know if you'd seen this before http://www.myarmoury.com/feature_schmidt.html but the interactive feature of the article allowing you to compare Schmitts work with the originals he was copying is neat http://www.myarmoury.com/feature_schmidt_comp.html. Having seen and owned a few very nice Victorian reproductions built using some original components ( something I understand Mr.Schmitt did on occasion, using an original armour component and constructing a harness around it to match ) my first thought when my friend showed it to me was that it was Victorian. As the evening went on and I contiued to handle the piece I had a harder and harder time ignoring the symbols in the guard and the possible fraternal/Freemasonic character they may have.

I was pretty sure you were well aware of Schmitt as you've well established your expertise on arms and armour, especially armour. Thank you for the heads up on the feature on MyArmoury. I first learned of Schmitt many years ago in a "Man at Arms" article, and was amazed at how authentic his work was. Still, his integrity as far as I understand, was impeccable, and he never created his work to deceive. It was unscrupulous dealers who took advantage when they later passed off his products as originals. This is something that has happened with a craftsman that is a longtime friend and always stamped his work to avoid that, but the industrious dealers filed the mark away and off they went.

It is amazing how these items, even though not original weapons, have established themselves as fascinating antiques in thier own right, and have thier own deeply imbued history.

All the best,
Jim

[A Senefelder]

This is something that has happened with a craftsman that is a longtime friend and always stamped his work to avoid that, but the industrious dealers filed the mark away and off they went.

At one time I owned a sword made by Luther Sowers ( commisioned by St. Marys college from him back in the late 70's. Its a reproduction of a German basket hilt show in Arms and Armor in Colonial America 1513-1783 ) that I picked up at a flea market. Curious as to how a sword by a maker like Luther could end up so far from home I eventually tracked him down via phone. In a thoroughly enjoyable 3 hour phone marathon we strayed into exactly this topic. Luther pointed out to me an additional two " hidden " makers stamps of his besides the obvious ones on the blade which he had to do for exactly the reason you mention. Luther became aware that some of the people that were commisioning him for work were turning around and antiquing his pieces and selling them as originals.