This work with a mysterious and lyrical character at the same time, close to the surrealist imaginary, could be traced back to the book by H. G. Wells, L'Homme invisible, of 1897, translated into French in 1932. The sculpture is part of a series developed by early Thirties focused on the same subject. As suggested by the title, it is a head, evoked by the shape of the hair similar to the wings of a bird in flight, supported by two intertwined hands. Lipchitz's interest in anatomical parts recalls the sculpture of Auguste Rodin and Henry Moore, to which he was strongly attracted.