One of the most unexpected and narratively charged works in the collection — a composition that combines a stylized animal head with a field of crystalline geometric forms in a way that creates genuine visual mystery. At upper left, a large wolf or dog head is rendered in pencil with minimal descriptive marks: a triangular nose, a blue-outlined eye socket with two brown eye forms within, a broad brow. The head is drawn with the economy of a symbol rather than the specificity of observation — this is an archetype, not a portrait.
Below and around the wolf head, a field of angular geometric forms — triangles and pointed elongated shapes — is arranged in overlapping clusters that read as crystals, rocks, stalagmites, or perhaps a city of pointed towers. These forms are rendered in soft watercolor washes — green, gray, purple, blue, pink, yellow — each one a slightly different color and transparency. The variety within the formal repetition of the pointed shape creates a field of restrained beauty.
At center right, a pale circular form — a moon or an eye — floats between the wolf and the crystal field, connecting the two realms without explaining their relationship.
A small red loop at left center — a lasso or a noose — and a small coiled form above it introduce ambiguous narrative elements. Are these restraints? Tools? Pure formal marks? Sidney doesn't say.
The suggested title names what the composition shows — and leaves open what the wolf is doing among the crystals, whether it is hunter or guardian or simply present.