European, and then colonial, silversmiths produced splendid silver ornaments; these were used first as diplomatic gifts to First Nations chiefs around 1760, then as trade goods in the burgeoning fur trade in northeastern North America, via the Hudson’s Bay Company and the North West Company. Brooches, gorgets, armbands, and legbands were some of the works created. The most spectacular objects were headbands in the shape of crowns. Very delicate, they were usually worn on top hats; together, these were treasured as emblems of high rank and prestige. Made exclusively for Indigenous wearers, their cultural significance, too, was purely Indigenous. This crown is a particularly spectacular example (see the references below for several other examples of crowns and headbands.)

One could be forgiven for thinking that it is a simple arrangement of cut-out shapes and stamped designs; when something is made with great skill, it can appear easy. The larger negative spaces in the crown are pierced with a chisel, creating a very fine beveled edge to the silver that pleases both the eye and a wearer’s touch. The delicate line work throughout might be perceived as a hammered stamp to the untrained eye, but is in fact gently pressed by hand, line by line, with a flat graver. This process, pleasingly known as wrigglework, walks a design across the silver. Likely once held together carefully with leather ties that might have sported beads or other adornments, this crown would have been an impressive sight: a shining band of silver against the dark sheen of a beaver pelt top hat.