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).

Even though there had been an earlier tradition on the northern coast of engraving copper and iron with totemic figures, many of the earliest examples of decorated silverwork show intrusive designs derived directly from eighteenth and early nineteenth century European engraving conventions. Whether these patterns of stylized scrolls and leaflike sprays were merely copied from examples seen by native engravers or actually taught by European tradesmen is not clear. The technical details of European, Euro-American, or native Northwest Coast foliate scroll engraving are so similar it seems possible, if not plausible that these patterns were learned from European tradesmen. This expertly fashioned silver bracelet is a fine example of early floral engraving. Beveling, lining, and shading exactly reproduce the details of scroll engraving on early nineteenth century silver and related decoration, such as that on firearms. The 'rococo scroll' engraving on the brass and silver inlays of early eastern American rifles represents another, very similar 'folk' adaptation of formal European engraving style. (Holm, Box of Daylight, 1983).

The eagle as a motif was popular with engravers everywhere. The emblematic American eagle came to the Northwest Coast on coins, military insignia, ships' carvings, and engraved documents very early in the historic period, and native artists quickly adopted the motif. This expertly executed American eagle - with defiant thrust of beak and arrogant glance and shield, arrows, and olive branch proudly displayed - is one of the finest examples of this type. Classic foliate scrolls, with flawless curves and spirals deeply cut, flank the eagle's cartouche. This bracelet is of heavy gauge silver, probably hammered from an ingot cast of melted coins in a wooden or stone mold. Many bracelets were hammered from whole coins, but they are usually thinner and show creases and overlaps on the inner side - the result of folding and refolding the silver to achieve the proper shape. A cross-hatched background, while not unique to the Northwest Coast, was the usual choice of Indian engravers and was very uncommon on the European prototype. (Holm, Box of Daylight, 1983).