Tlingit artists of the late nineteenth century often rendered the creatures of crest art as silhouetted figures. Rather than constructing the animal of interconnected formline patterns, their salient features were detailed with formline elements, such as the ovoid joints of flipper and tail. This stout killer whale is an excellent example of this style. The configuration is unusual, but not unique, with the two halves of the split whale joined at the tail, and the heads coming together on each side of the double-hook clasp. Sure, bold engraving delineates the various parts: the broad pectoral fin with its clawlike divisions, the downturned dorsal fin, and the spread flukes. Ovoid joints and eyes are absolutely uniform in their rounded, arched form - an indication of an artist whose style is mature and individualized. (Holm, Box of Daylight, 1983).

The eagle has become more Indian in this northern bracelet, perhaps Tlingit in origin. The native ideal of two-dimensional design, figures fitted to space, avoidance of overlaps, and flat diagramatic representation of the features prevails, but European scrolls still swirl from the bird's head and wings. The design is a combination of stylized naturalism with formline details of wing joints and features of the heads. Implicit formlines defining the eye and shoulder are narrow and rounded. The engraving technique on this bracelet is of high quality, but is not so clean and bold as that on the previous eagle and scroll bracelet [2005-102/2]. (Holm, Box of Daylight, 1983).

The bead is white.

The paint is red, green, black, and yellow.

The paint is red, black, green, and yellow.