LOT 46
BILL REID (IIJUWAS), O.B.C., R.C.A. (1920-1998), HAIDA
Grizzly Medallion and Chain, 1972 / 1988
testing 22 kt gold, pendant: 2 x 0.25 x 2 in (5.1 x 0.6 x 5.1 cm) / chain: 24.25 in (61.6 cm) in length
ESTIMATE: $35,000 — $50,000
Bill Reid
When looking at the work of an artist as iconic as Bill Reid, it is easy to be drawn in by the mystique of the man and what his works represent and, in doing so, miss some of the finer details of what makes him a great artist. This pendant brooch and gold chain – Lot 46 in First Arts’ forthcoming June 10 auction – are a case in point. Those not familiar with goldsmithing techniques and jewelry design might miss what exceptional pieces these truly are.
We know that Bill Reid was first exposed to silversmithing work incorporating Haida imagery by his grandfather Charles Edenshaw (Daax’igang Or Tahaygen). He went on to study jewelry making at Ryerson in Toronto and other institutions. His training as a goldsmith gave him the metal working skills to approach jewelry as sculpture.
Grizzly Medallion
The image of the Haida Bear on the front of the medallion is, of course, the focus; but, like all good sculpture, the artist has conceived the entire piece as a three dimensional object. Every aspect of this work has been taken into consideration. The choice of 22 karat gold, the radiating circle surrounding the bear and the burnished surface all invoke the thought of beaming sunlight. The hinged swing bail for the chain and addition of a pin show that the medallion was designed to be worn either as a pendant or a brooch. Only visible when worn on a chain the bail swings out of sight when worn as a brooch so as not to distract the viewer's eye away from the central image of the bear. The use of a trombone slide to secure the pin rather than a typical mechanical closure is a subtle touch but clearly intentional so as not to distract the wearer's interaction with this piece of sculpture.
Gold Chain
It would not be unusual for a goldsmith to use one of many commercially available chains to accompany the medallion, but Mr. Reid has chosen to elevate the artistry of the piece by designing a specific chain for it. The individually cast links, a linear expression of the radiating circle surrounding the bear, feature a textured surface that only reveals its intricate pattern upon close inspection. This ribbed motif, mirroring the one around the rim of the grizzly medallion, is a decorative element that Reid has skillfully adapted from argillite dishes by Charles Edenshaw.
Detail of Lot 46, Grizzly Medallion and Chain, 1972 / 1988
Goldsmithing Techniques
The medallion is cast and numbered five from a series of ten. Each medallion would be enhanced after casting by having the details sharpened through the use of chasing tools and then having the entire surface burnished by hand. The hinged bail and pin components are of very fine construction, soldered on with exquisite skill. The individual chain links were cast and then assembled with jump rings between the links. A masterful touch is each tiny jump ring is soldered closed.
Like all great artists Mr. Reid has found a new way to express an old concept. By combining historic Haida images with western concepts of jewelry he has invited us the viewer to share a small piece of his world.
Ross Morrow, Master Silversmith
Ross Morrow began silversmithing more than 30 years ago. Initially drawn to silver by collecting, Morrow became interested in how these early pieces were actually made. In 1996 he met Brian Clarke, a master silversmith in Ireland, who was offering intensive workshops. Morrow was able to work with Brian Clarke on numerous occasions and learned an incredible amount about traditional silversmithing.
In the ensuing years, Morrow went on to teach in two community colleges and one university, all while continuing his own silversmithing business focusing on handmade commission pieces and the restoration of fine antique silver.
Morrow’s works are now in collections from Hong Kong to Istanbul, two museums, and at least one royal collection. He continues to derive much pleasure in the creation of sterling silver items that he often refer to as “interactive sculpture.”
Adapted from the author’s website