Mid-Century Brutalist Metal Mountain and Forest Wall Sculpture

This is a horizontal wall-mounted sculpture executed in the Brutalist style, characteristic of the 1960s or 1970s. The piece depicts a prominent mountain peak in the background with a dense coniferous forest in the foreground. It is constructed from torch-cut metal, likely copper or brass plates, which have been layered and welded together to create significant depth and texture. The mountain features a textured surface with golden-yellow patination near the summit, suggesting sunlight or a varying metal alloy. The individual evergreen trees show jagged, serrated edges consistent with flame-cut metalwork. The color palette consists of dark, oxidized browns, bronzes, and metallic golds, with intentional heat-induced coloration throughout. The construction utilizes rough brazed joints and irregular edges to achieve a naturalistic, rugged aesthetic. While no specific maker's mark is visible from this perspective, the style is reminiscent of pieces by C. Jeré or similar mid-century studios. The condition appears sound, with an aged patina that is likely original to the piece; there are no signs of significant bending or structural breakage, though some minor surface oxidation may be present in the crevices due to age.

I have virtually examined this horizontal relief sculpture, which stands as a characteristic example of Brutalist metalwork from the 1960s-70s. The piece demonstrates high-level torch-cut techniques on copper and brass, achieving a tiered, multidimensional landscape that is highly sought after in the current Mid-Century Modern (MCM) decorative market. The oxidation and heat-induced patination appear consistent with an original vintage finish, showing no signs of modern chemical reproduction. While the style strongly suggests the studio of Curtis Jeré, the absence of a visible signature or 'Artisan House' hallmark limits its valuation to the 'In the Style of' category. Brutalist landscapes of this size and complexity currently maintain steady demand as statement pieces for period-correct interiors. The condition is excellent, with the brazed joints appearing structurally sound and the natural oxidation enhancing its rugged aesthetic. However, a definitive attribution to C. Jeré would require physical inspection of the reverse for signature placement or specific solder markers. Authenticity cannot be 100% verified through images alone; a full valuation would necessitate provenance documentation or a physical catalog check to match the specific mountain-and-forest template to known production lines. Factors such as regional market trends and the presence of any hidden weld repairs—only detectable via tactile inspection—could further influence the final hammer price.