Bill Reid (1920-1998), Haida

the gold band bracelet finely engraved with a bear, probably a depcition of Tschumos, with a broad grimace, lips parted to reveal bared teeth, flaring nostrils, and deeply hollowed eye frames below arched brows, with additional totemic designs at each side, fine hatching and crosshatching; incised: HAIDA ART Reid.

Acquired by Karen Nelson, nee Walton, in the early 1960’s directly from Bill Reid who was at that time married to Ella Gunn, a lifelong friend of Karen Nelson’s

By family descent to the present owner

Very good condition with some wear consistent with use.
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.

The design on this bracelet is likely Tschumos, a ‘snag’ or submerged log which could severely damage boats.  In the early 1960’s Reid depicted this creature several times and illustrated it having the head of a bear with prominent nostrils. For a discussion of BIll Reid see Macnair, et al., pp. 85-6: "Only recently have the conventions that define Haida art, both two-dimensional and sculptural, been rediscovered. The man who mastered its secrets and popularized it widely was Bill Reid. Born in 1920, it was not until the 1950's that he began to explore the form and meaning of Haida graphic art. Impressed with old jewelry worn by his Skidegate mother and aunts, he learned to engrave precious metal. His early bracelets, pendants, and brooches, were careful copies of extant designs, many of which were published in anthropological literature. Other important sources of inspiration were the works of Charles Edenshaw, John Cross, and Charles Gladstone. As Reid's techniques improved, he began to create original designs; these grew from hesitant explorations to fully knowledgeable expressions reflecting the formal rules that Bill Holm was to publish in 1965."