A Haida silver bracelet, with possible Charles Edenshaw attributionA fine Haida silver braceletPossibly the work of Charles Edenshaw, Da.a xiigang, (1839-1920), depicting Wasgo, a mythical sea wolf, aligning a broad central face with protruding tongue against a finely hachured ground, with prominent snout surmounted by upraised flukes, the split-image body exhibiting characteristics of both terrestrial and sea mammals, a double tail curling over the back, with single hook clasp for closure at the terminals.approximate weight 38.2 g; inner circumference 7 1/8in, greatest width of cuff approximately 1 1/2inProvenanceDonald Alexander Smith, 1st Baron Strathcona and Mount Royal GCMG GCVO PC DL FRS, (1820-1914), thence by descent through the family. While the specific details of how and when the present lot was acquired is no longer known, the life and history of Lord Strathcona is inextricably intertwined with that of the Hudson Bay Company, as with the greater history of nineteenth and early twentieth century Canada and the British Empire.The possible attribution to Charles Edenshaw comes from a cautious comparison of the design and execution of the present lot against known and attributed examples by the artist. See McLennan, Bill and Duffek, Karen, "Placing Style: A Look at Charles Edenshaw's Bracelets Through Time", pp. 126-149, an essay in Charles Edenshaw, 2013, Black Dog Publishing/Vancouver Art Gallery, London, published in conjunction with the 2014 exhibition of the same title. The authors provide a comprehensive survey of bracelets and other silverwork carved by Charles Edenshaw, and discuss the evolution in style and technique over the artist's lengthy career. The facial features of the creature depicted in the present lot share strong similarities with a known Edenshaw bracelet from the McMichael Canadian Art Collection (object number 1981.108.1) and included in McLennan and Duffek's analysis. Illustrated in the essay and elsewhere in the book, the subject is identified as a sea bear, with several perspectives shown (Ibid., p. 137, fig. 147; p. 141, fig. 154; p. 218, fig. 242.) The rendering of the eyes, flared nostrils and overall facial structure share a close affinity with those of the present lot, while the published example differs with the heightened abstraction of the body and lacks the prominent tail. The distinctive double-cut outline that is used to emphasize key design elements is a characteristic trait seen in bracelets made by Edenshaw. Less prevalent in his earlier work, it was a defining technique that evolved over time as Edenshaw's artistic skills matured. With the present lot, one sees a more restrained use of this engraving technique, yet the imagery and execution are clearly the work of an accomplished artist. Thus, in suggesting that the present lot bears similarities with known or attributed examples by Charles Edenshaw, it may be most compelling when compared to his earlier work.