Two-Finned Killer Whale

Description

‘Two-Finned Killer Whale’ by Robert Davidson, 1979 – First Nations Northwest Coast Haida Artist presented by DaVic Gallery of Native Canadian Arts.

Condition:       Good condition – sent for professional restoration for light discoloration along margins of the paper and for removal of two tape marks verso.  Using framing mat as shown in picture #2 such discoloration can easily be covered and show beautifully.

Description by Artist:     No description by artist found.

Notes from DaVic Gallery:  This is a significant piece from a period where Robert Davidson was deeply engaged in reviving and mastering the traditional “alphabet” of Haida formline. This 1979 print is more rooted in supernatural Haida crests and lineage.

In Haida culture, the Killer Whale (Sg̲aana) is one of the most powerful supernatural beings. They are believed to live in villages under the sea that mirror human society, complete with their own longhouses and totem poles.   While a standard Orca has one dorsal fin, a two-finned (or sometimes three-finned) killer whale indicates a Supernatural Being. It marks the creature as more than just an animal; it is a powerful entity with the ability to transform and move between the human and spirit worlds.

The “Two-Finned” Crest is a hereditary crest belonging to certain Haida clans. By depicting it, Davidson is honoring the high-ranking status of those who carry the right to use this image.

Visual “Easter Eggs” in the Design – Davidson often hides secondary figures within the primary subject. In this 1979 print, you can look for:

• Human Faces: Often found in the tail, blowhole, or the fins themselves, representing the “Killer Whale People” who inhabit the body of the whale.
• Eagle/Osprey Influence: Some interpretations of this specific 1979 design note that the “spray” from the blowhole or the shape of the fins subtly mimics the forms of eagles or ospreys, referencing the interconnectedness of the sea and sky realms.

The “Clean” Line: Compared to earlier works, the 1979 prints show a incredible refinement in line weight—what Davidson calls “the line that bends but does not break.”

The blank sheet of letter-size (8.5” x 11”) paper covering part of the image in the last picture is for size reference.