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See Other Listings OLD! 15th c 1400\'s Historic Medieval Spanish Wrought Iron Banner Weathervane
Age Range 1400\'s-1700\'s ~ Provenance: DeHoogh Gallery
In this sale we have a fantastic piece of history with provenance of the DeHoogh Gallery of Philadelphia, Pennsylvania, a medieval hand wrought iron banner weathervane and finial (we estimate) from the 15th century! During our research we were able to match the banner to another Spanish weathervane from that same time period, and with the Spanish writing etched into our piece, we felt that it was a perfect fit!
Marked along one cross piece \"ANO\" and down the shaft \"ROCNPVLIDOLAHIZO(?)\", it measures approx. 48\" tall overall by 18\" at it\'s widest. There is appropriate age wear that would commensurate with its use, a loss to the top left cross section, a small loss on the verso cross section to the tip, a loss to the bottom tip of the banner, some breaks in the iron of the banner itself. The banner does swivel around the post with ease, being the only moving part of the weathervane. The wear is hard to completely and accurately describe, so please be sure to scroll through
...keep scrolling there are 54 pictures and more description beneath the photos below!
Click on any photo to see it in its original size in a separate tab.
our many photos for specific details and email us with any questions you may have. Please note, we do not claim to be experts in antique weathervanes and with no authenticity, we ask that you please offer accordingly! Fresh from the DeHoogh gallery of Philadelphia, the oldest weathervane to ever cross our path and now for your consideration! GOOD LUCK!
Antique Weathervanes as found on the collectorsweekly website (GREAT Site!)
In early America, the weather was of utmost importance for daily life. The prevailing winds and a sudden change in direction, combined with patterns of the clouds and the level of moisture in the air, could determine whether a storm was on its way—freezing crops or providing them with much-needed rain. So it was that every city, village, and farm had its own weathervane (also called a weather vane, weathercock, wind vane) perched atop the highest building, to show people the direction the wind was coming from.
The concept goes back to ancient Greece, where the first known weathervane, a life-size bronze Triton figure with his wand pointing into the wind, sat on the top of the Tower of the Winds temple. These devices are first recorded in England in the 11th century, and by the 17th century they were vital to ship merchants, aristocrats with shipping interests, and military leaders. Usually their weathervanes were attached to wind-clocks, often placed above the fireplace, which helped a merchant or a king calculate how long it would take his shipments or navies to arrive in port.
In England, the rooster, or cock, was such a popular design that the devices were often called weathercocks. For Christians, the rooster symbolizes the Passion of Christ, as Jesus predicted that Peter would deny him three times before the cock crowed. The rooster’s early-riser tendency to cock-a-doodle-do at the crack of dawn is also associated Christ rising from the grave and bringing an end to the darkness, or good defeating evil. The bird also stands for watchfulness and readiness for the return of Christ.
Arrows, like the one attached to the Father Time weathervane over Lord’s Cricket Grounds in London, which signals the end of play, were obvious weathervane motifs; farmers liked plain arrows for their simplicity and accuracy. Grasshopper weathervanes were a popular symbol for merchants, like the one belonging to Sir Thomas Gresham, founder of the Royal Exchange.
At first, the colonists in America simply copied the weathervane designs used in mother England, be they arrows, grasshoppers, roosters, or fish, another ancient Christian symbol. The cock and the grasshopper design in particular remained popular for hundreds of years. Esteemed 18th-century weathervane artisan, Boston coppersmith Shem Drowne, adopted the grasshopper motif and made a copper one with green glass eyes that can still be seen at the home of the merchant family Faneuil.
After America won its independence, weathervanes in the U.S. took on their own personalities. Farmers, concerned with their livestock and beasts of burden, would have weathervanes made in the shapes of horses, cows, sheep, pigs, or chickens, while coastal villages that depended on fishing favored sailors, captains, ships, whales, seagulls, fish, mermaids, and sea serpents. In addition to roosters and fish, American churches were topped by angels blowing trumpeting horns. Some shop owners would use their weathervanes as signs.
Other American weathervanes were specific to a particular region. In Eastern Pennsylvania, farmers would display Indian-shaped weathervanes on their barns. The Indian\'s arrows indicated wind direction, while the Indian itself was supposed to be a sign that the property owner had bought his land from Indians, thus avoiding any raids on his farm.
Some of the most enduring themes for weathervanes in the U.S. are patriotic symbols like the bald eagle, Lady Liberty, and Uncle Sam, which were used on private homes as well as municipal government buildings. When the steam locomotive first appeared on the scene, the railroad soon became a popular weathervane motif—these same train engines were quickly modeled by toy train makers.
For a weathervane, whose name comes from the Old English word “fane” meaning flag or banner, to be successful, it must have even weight distribution throughout but an uneven surface area. It also has to have a sharply drawn profile, making it easy to distinguish from the ground and in silhouette. Some weathervanes also have the compass points, N, S, E, and W, in a fixed position to compare the pointer against.
The earliest American weathervanes were carved out of wood or cut from sheet metal. Wooden vanes were usually painted in solid colors like red or white or yellow ocher to emulate gold leaf, or in a few brightly contrasting colors. Metal vanes, on the other hand, might be painted or gilded, but most were not. Unpainted iron made a dark, bold silhouette all by itself, while copper shined in a striking way at first, and then turned an appealing grayish green. Not surprisingly, few of these handcrafted, unfinished, weathervanes have survived.
You’re much more likely to find a weathervane from after 1850, when they became three-dimensional and were mass produced by companies like J.W. Fiske Works, of New York City, and J. Howard & Co. and A.L. Jewell & Co., of Massachusetts. All were sold in hardware stores and via mail-order catalogs.
Even though these companies had mechanized manufacturing processes for their vanes, much of the work still had to be done by hand by a specialized craftsman. Some were forged out of cast iron, using sand molds, a similar technique used to make the earliest mechanical banks. Most companies, however, specialized in hollow, 3D copper weathervanes, which were produced by hammering two pieces of sheet copper into cast-iron molds, and then soldering them together.
Another amusing weathervane-like device is the whirligig, a figure that showed not only the wind’s direction but also its speed. These wooden figures, usually military men, were hand-carved in the round by local craftsmen. Paddle-like wooden arms were then attached via a rod in the figures’ shoulders. The military dress was usually quite realistic and detailed, so antique whirligigs can be dated by their clothing. Smaller whirligigs are thought to be children’s toys.
Having been constantly exposed to the elements, many antique weathervanes on the market today are damaged or have been repaired. One of the most famous weathervanes is the Indian chief vane from Henry Ford\'s granddaughter\'s house in Grosse Pointe Farms, Michigan, which sold for $5.84 million dollars at a Sotheby’s sale in New York in 2006. That 1900 vane was made by J.L. Mott Iron Works of New York and Chicago.
We found the following article on the philly site online by Lita Solis-Cohen, Inquirer Antiques Writer, written in January of 1988. (Great Article!!)
The Dehoogh Gallery
The antiques shop in the brick townhouse usually has in its window a sampling of \"American and European Antiques, Oriental Works of Art, Folk Art, Ethnographic Works of Art,\" as its sign proclaims. It might be the last surviving full-range antiques shop in the city.
Sample the inventory and you\'ll find more of the sorts of antiques under the sign\'s categories: an 18th-century Spanish tin-glazed water heater, a large stovelike vessel 18 inches square with four masks and a portrait bust of an unidentified nobleman ($5,000); a 17th-century architectural model of the facade of an Italian palazzo, perfect for the display of Renaissance bronzes ($7,000); two bead-and-shell-covered ancestor figures associated with the royal family of Cameroon ($6,500 each), and several Tibetan tankas, Buddhist painted icons dating from the 15th to the 18th centuries ($3,000 to $7,000).
So it may come as a surprise to learn that Eric DeHoogh and his partner, Robert Lindsley, have a passion for early Japanese wares, and have been collecting them for more than 20 years.
Before they moved to Philadelphia in 1976, the two had a shop at 91st Street and Madison Avenue in New York City. In Philadelphia, they\'ve become the owners of this mystery gallery where collectors get frustrated with the very high prices and with the policy of letting in one customer at a time. It\'s a good idea to call 735-7722 for an appointment. Browsers are unwelcome.
\"We came to Philadelphia for a visit and fell in love with the city,\" said Lindsley, a tall, bald, scholarly looking man in his 60s. \"You can walk everywhere. There are great libraries, a very fine collection to study at the Philadelphia Museum of Art and an amazing number of collectors in this area. Japanese ceramics have been collected in Philadelphia since the time of the Centennial in 1876.\"
At the University of California at Berkeley in the 1960s, Lindsley met DeHoogh, a slender man who still wears his long blond hair in a ponytail. Lindsley had studied at the University of Beijing, where he was a student of Chinese art.
\"When I became aware of Japanese art, I found it more interesting. It has a liveliness and a spirit and intensity of feeling that, in my view, is lost in Chinese pottery by the 15th century,\" Lindsley said.
Lindsley and DeHoogh go after pieces the Japanese used themselves - especially those used in the tea ceremony. \"Only significant and important material interests us,\" said DeHoogh. They never buy at sale, only privately from collectors and other dealers. Most of thegallery\'s business is done with a small group of collectors and dealers, many from abroad, about a third of them Japanese.
\"The Japanese truly appreciate their pottery. They designate potters National Living Treasures,\" DeHoogh said.
He emphasized that the collection covers the range of Japanese pottery, from prehistory to contemporary, with emphasis on the 15th to the 18th centuries.
DeHoogh picked up a heavy rough-hewn bulbous stoneware jar with no glaze at all. Instead of using glazes, the potter allowed the wood ash, which fell on the pot in the kiln, to create subtle color changes. \"The Japanese look at this water jar and they see a landscape on its surface,\" said Lindsley. \'\'Because of its unassuming simplicity, it was well-suited for the Japanese tea cermony. One would need the permission of the Japanese government to get this sort of piece out of Japan today.\"The price: $80,000. Other pieces of pottery range in price from $2,000 to more than $80,000.
A crudely potted flower vase in the form of a tall water bucket, with a crackled cream-color glaze splashed with very dark green, is an example of Oribe ware from the Momoyama period, the late 16th and early 17th century. It is named for the tea master Furuta Oribe, who died in 1615 and had inspired this pottery type, its rich green glaze often combined with brown painted designs. The vase can be bought for $70,000.
\"Our prices reflect sale prices in Japan,\" DeHoogh said. \"Generally, they are about two-thirds the retail prices in Tokyo. We only have very good material for the most discriminating. Bargain hunters will be disappointed here.\"
The DeHoogh Gallery advertises only in Arts of Asia, a magazine devoted to top-grade Asian art. But this weekend, Lindsley is making a rare appearance at an antiques show. He\'ll show mainly folk art, American Indian and ethnographic art at the Pier Americana Show tomorrow and Sunday, at Pier 92, at 52d Street and the Hudson River in New York.
The Calculator is not always right - if the shipping looks too high email us and we will give you an accurate quote prior to the sale ending.
Estimated shipping weight, (packaged) is 10 lbs 10 oz
in a 52 x 22 x 6 box
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