A Stunning Antique, 19th Century, Colonial Walking Stick of Carved and Turned Horn, Inlaid With Circular Pattern Design

A heavy quality stick of most attractive form and fine quality. Every other portrait of a Georgian, Victorian, or Edwardian gentleman, shows some nattily dressed fellow with a walking stick pegged jauntily into the ground or a slim baton negligently tucked under the elbow. The dress cane was the quintessential mark of the dandy for three centuries, part fashion accessory, part aid to communication, part weapon, and of course, a walking aid. A dandy, historically, is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of self. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle despite coming from a middle-class background, especially in late 18th- and early 19th-century Britain.

Previous manifestations of the petit-maitre (French for "small master") and the Muscadin have been noted by John C. Prevost, but the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated cynical reserve, yet to such extremes that novelist George Meredith, himself no dandy, once defined cynicism as "intellectual dandyism". Some took a more benign view; Thomas Carlyle wrote in Sartor Resartus that a dandy was no more than "a clothes-wearing man". Honore De Balzac introduced the perfectly worldly and unmoved Henri de Marsay in La fille aux yeux d'or (1835), a part of La Comedie Humaine, who fulfils at first the model of a perfect dandy, until an obsessive love-pursuit unravels him in passionate and murderous jealousy.

Charles Baudelaire defined the dandy, in the later "metaphysical" phase of dandyism, as one who elevates esthetics to a living religion, that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking Dandyism is a form of Romanticism. Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of mind."

The linkage of clothing with political protest had become a particularly English characteristic during the 18th century. Given these connotations, dandyism can be seen as a political protest against the levelling effect of egalitarian principles, often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat". Paradoxically, the dandy required an audience, as Susann Schmid observed in examining the "successfully marketed lives" of Oscar Wilde and Lord Byron, who exemplify the dandy's roles in the public sphere, both as writers and as personae providing sources of gossip and scandal. Nigel Rodgers in The Dandy: Peacock or Enigma? Questions Wilde's status as a genuine dandy, seeing him as someone who only assumed a dandified stance in passing, not a man dedicated to the exacting ideals of dandyism.

36.5 inches  read more

Code: 15659

A Good Original Imperial German Pickelhaube German Spiked Helmet Case

In pressed fibreboard and leather strapping. Overall in very nice condition but the straps have either partially of fully seperated. A rare collectable that is now very scarcely seen. Ideal to accompany any good pickelhaube, either spike or ball topped. The Pickelhaube was originally designed in 1842 by King Frederick William IV of Prussia, perhaps as a design based on similar helmets that were adopted at the same time by the Russian military. It is not clear whether this was a case of imitation, parallel invention, or if both were based on the earlier Napoleonic cuirassier. The early Russian type (known as "The Helmet of Yaroslav Mudry") was also used by cavalry, which had used the spike as a holder for a horsehair plume in full dress, a practice also followed with some Prussian models.
Frederick William IV introduced the Pickelhaube for use by the majority of Prussian infantry on October 23, 1842 by a royal cabinet order. The use of the Pickelhaube spread rapidly to other German principalities. Oldenburg adopted it by 1849, Baden by 1870, and in 1887, the Kingdom of Bavaria was the last German state to adopt the Pickelhaube (since the Napoleonic Wars, they had had their own design of helmet, called the Raupenhelm.

From the second half of the 19th century onwards, the armies of a number of nations besides Russia, (including Bolivia, Colombia, Chile, Ecuador, Mexico, Portugal, Norway, Sweden and Venezuela,) adopted the Pickelhaube or something very similar.

The Russian version initially had a horsehair plume fitted to the end of the spike, but this was later discarded in some units. The Russian spike was topped with a grenade motif. At the beginning of the Crimean War, such helmets were common among infantry and grenadiers, but soon fell out of place in favour of the fatigue cap. After 1862 the spiked helmet ceased to be generally worn by the Russian Army, although it was retained until 1914 by the Cuirassier regiments of the Imperial Guard and the Gendarmerie. The Russians prolonged the history of the pointed military headgear with their own cloth Budenovka in the early 20th century. All helmets produced for the infantry before and during 1914 were made of leather. As the war progressed, Germany's leather stockpiles dwindled. After extensive imports from South America, particularly Argentina, the German government began producing ersatz Pickelhauben made of other materials. In 1915, some Pickelhauben began to be made from thin sheet steel. However, the German high command needed to produce an even greater number of helmets, leading to the usage of pressurized felt and even paper to construct Pickelhauben.
During the early months of World War I, it was soon discovered that the Pickelhaube did not measure up to the demanding conditions of trench warfare. The leather helmets offered virtually no protection against shell fragments and shrapnel and the conspicuous spike made its wearer a target. These shortcomings, combined with material shortages, led to the introduction of the simplified model 1915 helmet described above, with a detachable spike. In September 1915 it was ordered that the new helmets were to be worn without spikes, when in the front line  read more

Code: 20806

A Beautiful Antique African Tribal Carved Paddle-Spear Possibly of the Itsekiri People Or Even Benin

One of a matched pair we acquired but we are selling separately. In carved native wood with geometric carving covering one paddle side, the other side is different . This is a dance paddle of the kind used in ceremonies by the Itsekiri people of the Niger delta. The river was at the centre of tribal society and economy – it provided food and transport for the communities who lived in the area. Canoes were an extremely important part of traditional society and so the paddle was an important symbol for prosperity. Local people relied on the river for their quality of life and believed in water spirits. This paddle is decorated with intricate carving and may have been used in ceremonial dances. Alternatively, it may have been made for trading with Europeans as ethnic objects became fashionable possessions. Although African, like Oceanic art it is often infused with ancestral spirits, as well as spirits of water, air and land. These spirits are contacted in ceremonies to ensure fertility, or invoke protection from famine, disease or enemies.

Sometimes these invocations serve extremely practical purposes. There was a ceremony in Papua New Guinea where ancestral spirits were activated in a carved wooden crocodile. Men carrying the crocodile were then led, like people holding a divining rod are led, to the home of a local murderer.
African and Oceanic art is not only made for decoration. It is made to be used as a tool in the culture. Cubist painters, and especially Surrealists, were moved by the power of Oceanic abstractions, as they were by traditional African art . This wonderful piece would make a stunning additional display of object d’art in any setting, albeit traditional or contemporary  read more

Code: 17919

A Good 19th Century, Heavy Grade, Antique 'Berber's' Jambiya or Koummya

Two ring mounting with beautiful and finely scroll engraved panelled front decoration The koummya is the characteristic traditional dagger of the Berber and Arabic peoples of Morocco. Stone classifies these as being one localised variant of the Arabic jambiya, and the contoured handles, curved double-edged blades and exaggeratedly upturned scabbard tips are all features consistent with such an interpretation. In the context of the traditional regional manner of dress, the koummya is worn visibly at the left side, generally about at the level of the waist and is suspended vertically, with the scabbard tip forward, by a long woolen baldric, attached at either end to one of the two scabbard rings, and worn crossing in front and back of the torso and over the right shoulder. A much greater diversity in forms and decoration exists than is represented by the examples presented here and presumably such features could be used to place particular examples geographically and temporarily.
Koummya blades are curved and double edged with the portion nearer the hilt remaining relatively straight while the curvature becomes pronounced in the half towards the tip. The length of the blade which is bevelled and sharpened is longer along the concave side than along the opposite convex side. Blade thickness tapers from the base of the blade, where it is thickest, to the tip. While the edge bevels may give the blade a flattened diamond or lenticular cross-section towards the tip, the cross-section is rectangular at the forte. These blades are characteristically relatively thin and utilitarian and the presence of fullers or ridges is not typical.  read more

Code: 23296

A Most Scarce Edwardian Hampshire Yeomanry Carabiniers Regimental Silver Place Badge With 'Battle Honour' Scroll, South Africa 1900-1901

The Hampshire rose to the centre of a crowned oval bearing the title, Hampshire Yeomanry, backed by a pair of crossed rifles, with the 'Carabiniers' scroll across the rifle butts and surmounted by Edward VIIth's King's crown, with the regimental 'Battle Honour' scroll of South Africa 1900-1. Tension sprung silver half hoop at the rear to insert a card, menu or regimental seating place name. In very good condition for age.

Between 1794 and 1803, a large number of cavalry units such as the North Hampshire Yeomanry Cavalry, the New Forest Volunteer Cavalry, the Fawley Light Dragoons and the Southampton Cavalry were raised in southern England as independent groups of Yeomanry. The Prime Minister, William Pitt the Younger, proposed that the English Counties form a force of Volunteer Yeoman Cavalry that could be called on by the King to defend the country against invasion or by the Lord Lieutenant to subdue any civil disorder within the country. These units were brought together under the collective title of North Hampshire Regiment of Yeomanry Cavalry in 1834, renamed Hampshire Regiment of Yeomanry Cavalry by 1848. The Regiment adopted the title 'Carabiniers' in 1887.

On 13 December 1899, the decision to allow volunteer forces serve in the Second Boer War was made. Due to the string of defeats during Black Week in December, 1899, the British government realized they were going to need more troops than just the regular army, thus issuing a Royal Warrant on 24 December 1899. This warrant officially created the Imperial Yeomanry. The Royal Warrant asked standing Yeomanry regiments to provide service companies of approximately 115 men each. In addition to this, many British citizens (usually mid-upper class) volunteered to join the new regiment.

The first contingent of recruits contained 550 officers, 10,371 men with 20 battalions and 4 companies, which arrived in South Africa between February and April, 1900. Upon arrival, the regiment was sent throughout the zone of operations. The Hampshire Yeomanry raised the 41st Company, 12th Battalion, and the first company left Southampton on 31 January 1900, bound for Cape Town  read more

Code: 25190

A Most Interesting & Beautiful Quality Victorian Walking Cane. With a Florid Repousse Silver Top, Carved Spiral Haft With Carved Bullet Inlays

Carved spiral twist body with a cross-hatched top section. The dress cane was the quintessential mark of the dandy for three centuries, part fashion accessory, part aid to communication, part weapon, and of course, a walking aid. A dandy, historically, is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of self. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle despite coming from a middle-class background, especially in late 18th- and early 19th-century Britain.

Previous manifestations of the petit-maitre (French for "small master") and the Muscadin have been noted by John C. Prevost, but the modern practice of dandyism first appeared in the revolutionary 1790s, both in London and in Paris. The dandy cultivated cynical reserve, yet to such extremes that novelist George Meredith, himself no dandy, once defined cynicism as "intellectual dandyism". Some took a more benign view; Thomas Carlyle wrote in Sartor Resartus that a dandy was no more than "a clothes-wearing man". Honore De Balzac introduced the perfectly worldly and unmoved Henri de Marsay in La fille aux yeux d'or (1835), a part of La Comedie Humaine, who fulfils at first the model of a perfect dandy, until an obsessive love-pursuit unravels him in passionate and murderous jealousy.

Charles Baudelaire defined the dandy, in the later "metaphysical" phase of dandyism, as one who elevates esthetics to a living religion, that the dandy's mere existence reproaches the responsible citizen of the middle class: "Dandyism in certain respects comes close to spirituality and to stoicism" and "These beings have no other status, but that of cultivating the idea of beauty in their own persons, of satisfying their passions, of feeling and thinking Dandyism is a form of Romanticism. Contrary to what many thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of mind."

The linkage of clothing with political protest had become a particularly English characteristic during the 18th century. Given these connotations, dandyism can be seen as a political protest against the levelling effect of egalitarian principles, often including nostalgic adherence to feudal or pre-industrial values, such as the ideals of "the perfect gentleman" or "the autonomous aristocrat". Paradoxically, the dandy required an audience, as Susann Schmid observed in examining the "successfully marketed lives" of Oscar Wilde and Lord Byron, who exemplify the dandy's roles in the public sphere, both as writers and as personae providing sources of gossip and scandal. Nigel Rodgers in The Dandy: Peacock or Enigma? Questions Wilde's status as a genuine dandy, seeing him as someone who only assumed a dandified stance in passing, not a man dedicated to the exacting ideals of dandyism. 31.5 inches long  read more

Code: 23242

A Superb & Very Rare Sword, From the Indian Sub Continent. A Beautiful 18th Century Kora With Krishna Inlay

All steel inlaid with brass bronze embellishments of with chased brass and copper-overlaid figural decoration, depicting Krishna playing the flute inside a domed shrine chhajjas, domed pavillion-shaped structure,

The Kora is the second best known weapon of Nepal, the first being the legendary Kukri (Khukuri), both are national weapons of Nepal. The third forward curved blade of Nepal is the Ram Dao, it is only used in religious affairs and was doubtfully used in times of war. Like Nepal, the Kora & Kukri are strongly associated with the Gurkhas and was firstly illustrated in Col. William Kirkpatrick's work "An Account of the kingdom of Nepaul" published in London, 1811 based on his travels in 1793 to Nepal.
There both the Kukri and Kora is for the first time illustrated to the wider worlds public. The Kora was traditionally used warfare and personal protection, but also played and still plays a function in the religious sphere where it is used to behead sacrificial animals in one blow, otherwise believed to bring bad fortune and the sacrifice is considered useless. Thus both a skilled man and a formidable blade is needed, the Kora certainly passes the criteria! Lord Egerton and Rawson share the main idea that the forward curved blade most likely goes back to the Egyptian Khopesh and from there over to the Grecco-Roman world where it was called Kopis. Most authors, collectors and people with knowledge will agree on this, so far it's the best option we have. So much of the past, its history is forgotten, unrecorded and often only minor fragments remain.

Krishna
Krishna, Sanskrit Kṛṣṇa, one of the most widely revered and most popular of all Indian divinities, worshipped as the eighth incarnation (avatar, or avatara) of the Hindu god Vishnu and also as a supreme god in his own right. Krishna became the focus of numerous bhakti (devotional) cults, which have over the centuries produced a wealth of religious poetry, music, and painting. The basic sources of Krishna’s mythology are the epic Mahabharata and its 5th-century-CE appendix, the Harivamsha, and the Puranas, particularly Books X and XI of the Bhagavata-purana. They relate how Krishna (literally “black,” or “dark as a cloud”) was born into the Yadava clan, the son of Vasudeva and Devaki, who was the sister of Kamsa, the wicked king of Mathura (in modern Uttar Pradesh). Kamsa, hearing a prophecy that he would be destroyed by Devaki’s child, tried to slay her children, but Krishna was smuggled across the Yamuna River to Gokula (or Vraja, modern Gokul), where he was raised by the leader of the cowherds, Nanda, and his wife Yashoda.

The child Krishna was adored for his mischievous pranks; he also performed many miracles and slew demons. As a youth, the cowherd Krishna became renowned as a lover, the sound of his flute prompting the gopis (wives and daughters of the cowherds) to leave their homes to dance ecstatically with him in the moonlight. His favourite among them was the beautiful Radha. At length, Krishna and his brother Balarama returned to Mathura to slay the wicked Kamsa. Afterward, finding the kingdom unsafe, Krishna led the Yadavas to the western coast of Kathiawar and established his court at Dvaraka (modern Dwarka, Gujarat). He married the princess Rukmini and took other wives as well.

Krishna refused to bear arms in the great war between the Kauravas (sons of Dhritarashtra, the descendant of Kuru) and the Pandavas (sons of Pandu), but he offered a choice of his personal attendance to one side and the loan of his army to the other. The Pandavas chose the former, and Krishna thus served as charioteer for Arjuna, one of the Pandava brothers. On his return to Dvaraka, a brawl broke out one day among the Yadava chiefs in which Krishna’s brother and son were slain. As the god sat in the forest lamenting, a huntsman, mistaking him for a deer, shot him in his one vulnerable spot, the heel, killing him.  read more

Code: 23295

1917 US Bayonet, The *U.S. Model 1913 ‘1917’ Dated Remington Bayonet and Scabbard with Original Frog.

Excellent plus, and an exceptional example. Likely so good it would be impossible to improve upon.

The American U.S. Model 1913 dated 1917 Bayonet in leather and steel scabbard with frog button mount and rivetted leather frog. It has a nice blade with all it's original parkerised finish. Known as a 'sleeper', in the collecting market, in that it was put into storage in 1946 and hasn't seen the light of day since, we have just acquired a super collection of bayonets all in stored condition since the end of the war.

This is a superb 1913- 1917 pattern bayonet marked to the blade with 1917 over Remington in a circle on one side, and U.S. with the grenade and eagle head on the other. These bayonets were originally manufactured by the U.S. in WWI and acquired by the British in WWII for use mainly by the Home Guard.

Pattern 1913/17. In excellent order with frog mount. Made by Remington. The pattern of bayonet that was continually used in WW2 by the British Home Guard. With twin cuts in the wood grip added to differentiate for British forces that it was the American bayonet and not a British 1907 Wilkinson.

Originally the bayonet design was made for the British in September 1917 by Remington in the US as the 1913 Pattern intended to be issued with the P14 Rifle in .303 inch calibre. However, when America entered the war they changed production of the P14 rifle over to .30 inch calibre, at which point it became their M17 rifle. As the calibre change meant no alteration to the bayonet was required they basically took the unfinished/unshipped bayonets and made them American property by over-stamping the British marks with American marks, thus becoming M1917 bayonets.

The P14's principal combat use during World War I was as a sniper rifle, since it was found to be more accurate than the Short Magazine Lee–Enfield, either in standard issue form or with modified "fine-adjustment" aperture rearsights designated Pattern 1914 Mk I W (F) and Pattern 1914 Mk I* W (F) or, from April 1918, Aldis Pattern 1918 telescopic sights designated Pattern 1914 Mk I* W (T) (modified and telescopic sights were mainly used on Winchester-manufactured rifles, the Winchesters being thought to be of superior quality). During WW2 the rifle was also used again as a sniper rifle, the configuration being different from the World War I incarnation.

2 notches can be seen on the wooden handle as to distinguish it from SMLE bayonets as both rifles and blades were, though very similar incompatible with the other.  read more

Code: 25189

Stunning Victorian, Silver Hound's Head Walking Stick Of William Page Wood, 1st Baron Hatherley, PC, British Statesman, Lord High Chancellor of Great Britain, Presented by John Bright, Chancellor of the Duchy of Lancaster & Sherlock Holmes Connection

With lacquered hawthorn wood cane.

Was this 'Hound's Head' appearance on the walking stick, the inspiration for Sir Arthur Conan Doyle's, most famed Sherlock Holmes story, of the fiercesome and diabolical beast, 'The Hound of the Baskervilles' serialized in the Strand Magazine?. According to family legend, the notorious 17th century Squire Richard Cabell inspired the character of Squire Hugo Baskerville, but it was the childhood memory of this very hounds head that was the inspiration of the diabolical beast. The likeness to the illustrations of the hound in Doyle’s original novel is unmistakable.

A most beautiful piece with great political history, of the Victorian Liberal Party, of Prime Minister Lord William Gladstone.

The recipient of the stick, from John Bright, was William Page Wood, 1st Baron Hatherley, PC (29 November 1801 – 10 July 1881). He was a British lawyer and statesman who served as a Liberal Lord High Chancellor of Great Britain between 1868 and 1872 in William Ewart Gladstone's first ministry.

John Bright, the sticks original owner (16 November 1811 – 27 March 1889) was a British Radical and Liberal statesman, one of the greatest orators of his generation and a promoter of free trade policies. In 1849 he was appointed Vice-Chancellor of the County Palatine of Lancaster, and in 1851 was made Solicitor General for England and Wales and knighted. He was the Chancellor of the Duchy of Lancaster, a ministerial office in the Government of the United Kingdom. Excluding the prime minister, the chancellor is the highest ranking minister in the Cabinet Office, immediately after the Prime Minister, and senior to the Minister for the Cabinet Office. It was he who first used the phrase ‘England, mother of Parliaments, and another ‘flogging a dead horse’ ‘

A Quaker, Bright is most famous for battling the Corn Laws. In partnership with Richard Cobden, he founded the Anti-Corn Law League, aimed at abolishing the Corn Laws, which raised food prices and protected landowners' interests by levying taxes on imported wheat. The Corn Laws were repealed in 1846. Bright also worked with Cobden in another free trade initiative, the Cobden–Chevalier Treaty of 1860, promoting closer interdependence between Great Britain and the Second French Empire. This campaign was conducted in collaboration with French economist Michel Chevalier, and succeeded despite Parliament's endemic mistrust of the French.

Bright sat in the House of Commons from 1843 to 1889, promoting free trade, electoral reform and religious freedom. He was almost a lone voice in opposing the Crimean War; he also opposed William Ewart Gladstone's proposed Home Rule for Ireland. He saw himself as a spokesman for the middle class and strongly opposed the privileges of the landed aristocracy. In terms of Ireland, he sought to end the political privileges of Anglicans, disestablished the Church of Ireland, and began land reform that would turn land over to the Catholic peasants. He coined the phrase "The mother of parliaments."

The hounds head top of the walking stick, is engraved on one reverse panel J.B {John Bright}, and W.B {William Bright, was John's son, also a Liberal politician} and on the other side of the hound's head is engraved, W. Wood { the Lord High Chancellor of Great Britain} in a panel on the obverse beneath the hound's head.

The head was, 'supposedly', the inspiration for Sir Arthur Conan Doyle's 'Hound of the Baskervilles'

Doyle was educated at the Jesuit preparatory school Hodder Place, Stonyhurst in Lancashire, which may be the initial connection to John Bright. One might conjecture that Doyle, as a young impressionable boy, saw Bright's hound's head cane {before he gave it to William Wood} maybe, on his {Bright's} visit to Hodder Place School in Lancashire.

This story was imparted to us as part of the family legend of the hound’s head stick's past illustrious history. Of course, there is absolutely no written evidence of this being the case, but it does seem, a most intriguing possibility.

It was also meant to be an accurate likeness of a a beloved hound that belonged to John Bright. John Bright took his hound to Doyle’s prep school when he visited.  read more

Code: 25176

A Dyak Of Borneo, Tribesman's Mandau. A Tribal Head Hunter's Sword, From Kalimantan Island

A Dyak sword mandau, swollen Single edged blade flat on one side and slightly tapered on the other with inlaid dots. A scarce Mandau of the Dayak people, of Borneo, Indonesia. With carved hilt, complete with some tufts hair. Traditional blade with convex obverse and concave reverse. The handle and sheath of this Dayak sword is made of wood and are both decorated with waxed and braided rattan, which afterwards was richly decorated with many decorations such as: Goath hair, beads, rattan wickerwork, teeth from monkeys and wild boars.
The whole is also richly decorated with painted signs, such as beringjan, circles, leeches, dashes and zigzag lines.The blade was apparently designed convex in such a way as the head could be decapitated more easily by a swinging arc while running. The last photo in the gallery is a period photo of an indigenous Head Hunter, holding his 'prize', achieved with his Mandau.

According to the Dayaks themselves, the most sacred and powerful mandaus are those which were made by Panglima Sempung and Panglima Bungai, who are considered to be the two highest skilled masters.
The mandau is one of the most romanticised, albeit macabre, weapons of Borneo. The way of life of the Dayak aborigines, maintaining their ancient customs, habits and religious beliefs, has always involved the taking of heads. They became feared as head-hunters and only in recent years has the practice been “largely” abandoned. (Officially, headhunting doesn’t exist in Borneo despite the occasional report of an isolated jungle beheading). The swords are also “working” swords, capable of separating a branch from a jungle tree as much as a head from man.
Literature:
Art of Island Southeast Asia, The Fred and Rita Richmann Collection in The Metropolitan Museum of Art (New-York). FLORINA H. CAPISTRANO. Ed Baker, 155p, 1994.
Forgotten Islands of Indonesia, The Art & Culture of the Southeast Moluccas. NICO DE JONGE & TOOS VAN DIJK. 160p, 1995.
Age: Est. from early-mid 20th century

The Engraving of the Dyak Method Of Drying Heads is from the Illustrated London News {Public Domain}  read more

Code: 25186