Rare and Important Pair of Haida Polychromed Wood Shaman's Rattles

each in the form of a bird in flight, possibly a swan or oyster catcher, constructed of two hollowed sections joined together, with a long cylindrical handle, the upper section masterfully carved with outstretched wings, painted in black and red pigments with crest designs, extended tailfeathers with formline details in shallow and sunk relief, long curving neck thrust gently upwards emerging to a head with circular eye rims and long tapering beak; the whole with very fine tool markings and rich patina overall.

Acquired from Merton Simpson, New York

Objects of Bright Pride (Northwest Coast Indian Art from New York Collections), The American Federation of Arts: Center for Inter-American Relations, New York, NY July 11-October 1, 1978; The Cleveland Museum of Art, Cleveland, OH November 19-December 24; The Denver Art Museum, Denver, CO February 4-March 18, 1979; The Museum of Natural History of Los Angeles County, Los Angeles CA April 22-August 15, 1979; The Seattle Art Museum, Seattle WA September 21-November 4 1979; New Orleans Museum of Art, dates unknown.

Both are in generally very good condition with typical wear for age. One has a clean break on the wing and on the tailfeather, both of which have been re-glued with the original part. The other rattle has a clean break on the right wing, also re-glued with the original part.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

For a discussion of bird effigy rattles and a discussion of their use see Vaughan and Holm, 1982, p. 120-121: "Carved wooden rattles shaped like birds were used by dancers and shamans on many parts of the coast. One of the most distinctive rattle types, and one which was exclusively the property of shamans, is the oyster catcher rattle, so called for the bird that the carving represents. The black oyster catcher (Haematopus bachmani) is a bird well suited to be associated with shamans. Its appearance alone-black body, fire-red beak and eye with its yellow rim-is unworldly and mysterious. Add the piercing, whistling call and furtive habits to make it manifestly a shaman's bird. The courting dis­play of the black oyster catcher, an agitated, bobbing dance with neck out­stretched, accompanied by clattering cries, is imitated in the form of the rattle."

For further discussion on the use of rattles see Wardwell, 1996, p. 239: "The rattle was a very important piece of shamanic equipment along the entire Northwest Coast. Its sound provided rhythm for songs, dances, and chants, and attracted spirits to the séances. Wherever it was used, a supernatural presence was thought to be in attendance. The most common form was the round rattle, a globular instrument made of two hollowed pieces of hardwood, usually maple, lashed together, and containing pebbles. Many examples are completely plain. Others are painted and carved with shallow relief designs. A third type, fully three-dimensional, takes the form of animal or human heads."

p. 120-121: "Carved wooden rattles shaped like birds were used by dancers and shamans on many parts of the coast. For a similar example identified as a goose or a swan see Holm 1983, p. 28, pl. 18. Also see Phelps, 1976, p. 311, pl. 1450 for a rattle identifed as a goose and possibly Haida.