Rendering with a backbone.

A single male figure, braced against a vertical plane, all tension and sinew, part study, part confrontation. The hatching is relentless, controlled but obsessive, carving light from shadow with a discipline that feels closer to conviction than exercise. It has that cool, unsentimental physicality that later artists like Paul Cadmus would make electric: the body not as decoration, but as architecture. As will.

In the lower right: “Hodell z.” “Holzfaller.” “Hodler.” The trail leads to Ferdinand Hodler, Switzerland’s formidable 19th century modernist, master of psychological charge and rhythmic form. We cannot claim this as his hand, but it carries the unmistakable gravity of someone studying him seriously, perhaps a pupil testing their mettle against a master.

We’ve given it a black leather frame with a sharp gold fillet — clean, tailored, unapologetic. It doesn’t whisper. It holds the wall.

21 in. W x 2 in. D x 25 in. H