The top rail sweeps up from each outer stile to a crest over the centre joint, carrying a solid band set with a row of pyramid studs and a hairline slot beneath that repeats the same curve. Below it both leaves are cut steel silhouette — antler forms framing a skyline of mountains and pines, with antlered stags and smaller deer standing among them and a bird in flight above — and a circular medallion stands proud of the centre, its ring enclosing a scrolled monogram wreathed in antler. A matching studded panel runs the full width along the bottom, all of it in a black finish with a satin sheen.
Every element in the scene touches the antler that frames it. The mountains, the pines, the stags and the bird all hang off the tines, which is how a cut field this open carries itself without a grid behind it — and the hairline slot under the top band does the rest, holding the solid sweep clear of the cut work so daylight runs the full length of the curve instead of stopping at it.
The composition works at two distances — an antler and a mountain line from down the drive, individual stags and pines close up — so it does not go flat as a visitor arrives. Because the field is cut clear through, the ground behind fills every opening, which puts a real demand on the setting: the rock face and standing timber behind this pair land inside the picture rather than merely behind it, and a bare lot would show through just as plainly.
2 photos
Every angle
