Antique Arms & Militaria

A Fabulous Javanese Kris With Pure Gold Snake God Symbol Onlaid on to The Fabulous Pamor Serpentine Blade

Probably 19th to early 20th century. In an esteemed London auction house, a most similar quality gold inlaid example, of the same age, sold three Decembers ago for just over £5,400 [inc commission]. This is simply one of the most beautiful we have seen on the market in over 20 years. A sarpa lumarka wavy blade with a gold naga [snake] in sangkelat [13 waves, or lok]. Ladrang form of wrangka hilt crosspiece [boat form] of a simply stunningly grained wood, which may well be Javan pelet, with a fine gilt metal sleeve covering the haft, with a most intricate and detailed pieced design on the obverse side. In Java, the metal sleeve is called pendokbunton, which is a full metal sleeve. The keris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" used to describe the keris. The keris is replete with the totems of Malay-Indonesian culture of hindu and islam. The blade is a mixture of meteoric steel and nickel According to traditional Javanese kejawen, kris contain all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: "I" or "me", meaning that the kris has a spirit or soul). All these elements are present during the forging of kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the kris is associated with the naga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some kris have a naga or serpent head carved near the base with the body and tail following the curves of the blade to the tip. A wavy kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

In former times, kris blades were said to be infused with poison during their forging, ensuring that any injury was fatal. The process of doing so was kept secret among smiths. Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light coloured silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns have specific meanings and names which indicate the special magical properties they are believed to impart  read more

Code: 22745

A Very Fine .36 Calibre Colt Navy London Revolver, 1851 Model Navy Manufactured in 1855, Probably The Most Iconic Revolver of the 19th Century

An absolute beauty. All matching serial numbers, good spring action, holds and fires on first cock. Bright and very clear surface polish overall with no pitting to the surface visible. Some small age losses to the wooden grips and a small steel loss at the very top of the blackstrap screw housing. One of the 42,000 superb revolvers made in the London factory, used in all the major conflicts of the day, from the Crimean War, Indian Mutiny to the American Civil War and beyond in the American Wild West era.

The designation "Colt 1851 Navy" was designated by collectors, though the popular name "Navy Revolver" is of early origin, as the gun was frequently called the "Colt Revolving Belt Pistol of Naval Caliber." The cylinder was often engraved with a scene of the victory of the Second Texas Navy at the Battle of Campeche in May 16, 1843. The Texas Navy had purchased the earlier Colt Paterson Revolver, but this was Colt's first major success in the gun trade; the naval theme of the engraved cylinder of the Colt 1851 Navy revolver was Colt's gesture of appreciation. Despite the "Navy" designation, the revolver was chiefly purchased by civilians and military land forces. Famous "Navy" users included Wild Bill Hickok, William Buffalo Bill Cody, John Henry "Doc" Holliday, Richard Francis Burton, Ned Kelly, Bully Hayes, Richard H. Barter, Robert E. Lee, Nathan B. Forrest, John O'Neill, Frank Gardiner, Quantrill's Raiders, John Coffee "Jack" Hays, "Bigfoot" Wallace, Frederick Townsend Ward, Ben McCulloch, Addison Gillespie, John "Rip" Ford, "Sul" Ross and most Texas Rangers prior to the Civil War. Usage continued long after more modern cartridge revolvers were introduced in 1873. Wild Bill Hickok was a legendary character in the Old West and a great exponent of the Colt Navy 1851. Wild Bill arrived in the West initially as a stage coach driver and later became a Lawman in the territories around Kansas and Nebraska. He fought during the American Civil War on the side of the Union Army and achieved renown afterwards as a scout, gambler and gunfighter. During his time as a Lawman Wild Bill engaged in many shootouts, and with his Colt Navy 1851 he was a very accurate and deadly shot, more so as he always remained calm, cool and collected in a shoot out, whilst the other party was nervous and scared. Hickok's guns were inscribed they also had ivory handles and were quite special pieces. Apparently they were both engraved with the words J.B. Hickok 1869. He was presented the guns in 1869 by Senator Henry Wilson of Massachusetts for his services as scout for a hunting trip. It was said to have been remarked by a Colt Navy owner "A Gentleman would not want to appear armed, but would not be so foolish as to go unarmed.

However, the most famous gunman who favoured the Navy above other arms was James Butler (“Wild Bill”) Hickok. He was fast and deadly, and long before he was murdered in Deadwood, Dakota Territory in 1876, he had acquired the title “Prince of Pistoleers.”
The 1851 Navy is believed to have been Sam Colt’s personal favorite. The evidence is derived from the only image of Colt with a weapon. The revolver that is in that picture is the Navy. Colt’s personal revolvers seemed to have been an engraved pair of Navies with ivory grips displaying a horse head. In addition to the portrait, Colt favored the Navy for presentation to individuals who could help his business. Among the many recipients of these beautifully engraved gifts were President Franklin Pierce, Secretary of War John B. Floyd, Sam Houston, Czar Nicholas, and Colonel Thomas Lally.

42’000 were produced in London, England, with state-of-the-art machines and dedicated production lines; back then the most technologically advanced factories in the world. The designation "Colt 1851 Navy" was designated by collectors, though the popular name "Navy Rev." is of early origin, as the gun was frequently called the "Colt Revolving Belt Pistol of Naval Calibre."

As with all our antique guns no license is required as they are all unrestricted antique collectables.  read more

Code: 24708

A Quite Rare Danish M1889 Krag-Jorgensen Knife Bayonet, Early Model by Weyersberg

Single-fullered spear point blade, forged together with the entire hilt as one piece of steel. Chequered black leather grips secured by two steel rivets. Black leather scabbard with steel mounts at the throat and chape. Unique locking mechanism, consisting of an integral locking catch on the scabbard, and sprung release lever on the hilt.

The ricasso of the blade is stamped with a ‘king’s head’ and ‘knight’s helm’ marks, over ‘W. K & C’, which stands for the maker Weyersberg, Kirschbaum & Co. of Solingen, Germany. Below this on the rim of the grip is stamped a crown over ‘91’, which means this bayonet was produced in 1891.

The pommel is stamped on one side with a unit mark ‘. to the th Battalion, over a cancelled unit mark ‘B ’ to the th Battalion, and on the other side with the item number ‘’. The chape finial of the scabbard is stamped ‘B’ to the rd Battalion and on the other side with ‘’.

The leather grips mark this out as the early version of this bayonet, which was made in Germany. The later and more common version was introduced in 1892: made in Denmark, it had wooden grips, which held up better to heavy use and wet conditions. Those bayonets of the early model whose grips wore out also received wooden replacements. The Danes were the first nation to adopt the Norwegian-designed Krag-Jorgensen rifle, followed by the United States and Norway. The blade is superbly bright The hilt and pommel have light, even patination. The leather grips have some light handling wear to the chequering. overall in great condition for age.  read more

Code: 25180

19th Century, Antique, Mandingo Mandinka Chief's Slave and Gold Trader's Sword With Tattooed-Leather Covered Wooden Scabbard

A most scarce and original African slave and gold trader chieftain's sword

The Manding (Mandingo) are West African people. Their traditional slaver's sword comprises a sabre like blade, a guardless leather grip and wide expanded scabbard with exquisite tattooed leather work.
This example is a fine example of very nice quality and most finely tattooed.

It has a 16 inches long curved blade, leather grip and leather scabbard with leaf shaped widening tip, entirely tooled tattooed and decorated. Of special interest is the finely bound and decorated leather work. These weapons are well known for their rare leather-work and the tattooing applied to the leather of the scabbards. The iron work skills are of black-smith quality.

Slave raiding, capture and trading in the Mandinka regions existed in significant numbers long before the European colonial era, as is evidenced in the memoirs of the 14th century Moroccan traveller and Islamic historian Ibn Battuta. Slaves were part of the socially stratified Mandinka people, and several Mandinka language words, such as Jong or Jongo refer to slaves. There were fourteen Mandinke kingdoms along the Gambia River in the Senegambia region during the early 19th century, for example, where slaves were a part of the social strata in all these kingdoms.

Scholars have offered several theories on the source of the transatlantic slave trade of Mandinka people. According to Boubacar Barry, a professor of History and African Studies, chronic violence between ethnic groups such as Mandinka people and their neighbours, combined with weapons sold by slave traders and lucrative income from slave ships to the slave sellers, fed the practice of captives, raiding, manhunts, and slaves. The victimised ethnic group felt justified in retaliating. Slavery was already an accepted practice before the 15th century. As the demand grew, states Barry, Futa Jallon led by an Islamic military theocracy became one of the centres of this slavery-perpetuating violence, while Farim of Kaabu (the commander of Mandinka people in Kaabu) energetically hunted slaves on a large scale. Martin Klein (a professor of African Studies) states that Kaabu was one of the early suppliers of African slaves to European merchants

Many blades were taken by the Mandingo and fitted from European weapons, such as sabres and short cutlasses. .

In general, these remain primarily considered Mandingo weapons, and from regions in Mali. These were of course invariably mounted with European sabre blades. Mandingo Tribe (also known as the Mandinka, Mande, or the Malinke Tribes) were the traders of the African West Coast, trading primarily in gold and slaves.
In 1324, Mansa Musa who ruled Mali, went on Hajj pilgrimage to Mecca with a caravan carrying gold. Shihab al-Umari, the Arabic historian, described his visit and stated that Musa built mosques in his kingdom, established Islamic prayers and took back Maliki school of Sunni jurists with him. According to Richard Turner – a professor of African American Religious History, Musa was highly influential in attracting North African and Middle Eastern Muslims to West Africa

Picture in the gallery of a Mandingo Slave Trader Chieftain, standing next to his boy sword bearer, carrying his very same form of 'tattooed' sword. One, from an original collection of weapons we recently acquired.

Overall the leather on this sword in in exceptional condition and beautifully decorated.

Early medeavil painting in the gallery of Mansa Musa's visit to Mecca in 1324 CE with large amounts of gold, that not unsurprisingly attracted many Middle Eastern Muslims and Europeans to Mali.  read more

Code: 17969

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 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 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

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