A large horizontal pencil figure drawing of a reclining figure with the most extreme foreshortening from the head end — the viewer placed at the model's feet, looking toward the head at the upper left. The body extends from the large rounded form of the hips and thighs in the center and lower zones back to the smaller head at the upper left, the spatial recession convincingly rendered through scale diminution.
The composition is the inverse of 1003 (the blue pencil foreshortening from the feet) — here the viewpoint is from below, looking up the body's length toward the head. The result is a figure that exists in real space, the near forms much larger than the far forms, the spatial relationship between body parts described through this scale difference rather than through overlap.
The head at the upper left is the smallest element — barely described, the face barely visible — while the midsection and lower body near the viewer are the largest and most fully rendered. The foot at the lower right, closest to the viewer, is fully described with the characteristic toe-by-toe attention.
The confident handling of this extreme viewpoint demonstrates Sidney's sustained engagement with life drawing as a spatial problem, not just a surface description. The figure is in space; the drawing records the space as much as the figure.