A print in deep red-vermilion — the only red print in the collection and one of the most formally distinctive works overall. The subject is a rounded wreath or labyrinthine form: a roughly circular mass of interlocking sinuous lines and wave forms, its interior containing smaller curving passages that open and close without resolving into a simple path. This is a labyrinth without an exit, or a decorative wreath without a beginning.
The print medium is unclear from the photograph — the marks have qualities of both relief printing (the heavier masses) and drawn or painted marks (the fine sinuous lines within). It may be a monotype, an engraving, or a reduction woodcut in a single color.
The vermilion red against cream paper is the most chromatic print in the collection: where the woodcuts work in black-and-white, this work uses color as the only visual event. The red is warm, saturated, and consistent across the entire form — no lighter zones, no gradation, the color flat and insistent.
The labyrinthine interior lines — fine, winding, never quite completing a path — are the work's meditative heart. They connect to the flow lines of 514, to the concentric ring forms, to the Eye of Everything: Sidney was always interested in systems that turn on themselves, forms that lead inward without resolving. This red labyrinth is another such form.
At the very bottom center, a small triangular mark — possibly a signature fragment, possibly a registration mark — is the only element outside the main form.