The vane with the stand is 38 inches tall and the fish is 25 inches long. When the fish was retired from being a working weathervane, it was put on this early base and the fish and base were painted white. The base is very heavy which makes the vane quite stable. At this point in time, some of the white paint has worn off the fish, allowing the verdigris color (green) show through the white as well as some copper in a couple of places.

Because weathervanes were designed to perform a functional purpose, their development as an art form was gradual and unintentional.  This is true of all naive art.  Function defined form and in most cases objects commonly found inspired the Folk Artists who made them.

While this is most certainly a factory made weathervane, it is important to note that, according to Steve Miller in The Art of the Weathervane" there is often more handwork in the manufacture of a factory weathervane than in any bronze sculpture".   He goes on to say that the making of a factory weathervane begins with a carved wooden model and while a bronze is simply poured into a mold, the weathervane must be hand-hammered into several molds, cut, soldered together and carefully filed.

There is an obvious sculptural quality about this weathervane and one should look at it as one looks at any sculpture.  First we look at the form, then at the patina of age and the results of years of exposure to the elements and what this has done to the surface of the weathervane.  Clearly, once that it was removed from the roof and placed on its stand and painted white it was in fact to make a statement as a piece of sculpture.  This weathervane sets itself above the rest because of its wonderful patina that speaks of its age and use and appreciation of it's form.

Excellent surface and condition. Circa early 20^th century.

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