A large horizontal red chalk figure drawing of quiet authority — a reclining figure propped on one arm, the upper body raised from the surface, the face looking outward with the direct gaze that appears in only a handful of life drawings. The model is looking toward Sidney; the drawing records this mutual acknowledgment.
The composition extends the full horizontal width of the paper: the hair at the upper left, the face in three-quarter view, the body stretching to the lower right, the hand — carefully described, the fingers individually indicated — resting at the lower left foreground. This hand is the composition's most grounded element: it anchors the otherwise floating figure.
The red chalk is at its most harmonious here — the marks light enough to suggest the body's warmth without overworking any zone, the overall form built from edge-finding rather than tonal buildup. The body's outer contour is the most sustained mark; the interior is gently shaded.
The face — seen in three-quarter view, the eyes directed outward — has the quality of someone who has looked up from their own private world and found themselves being recorded. The expression is neither posed nor startled: simply present, simply returned.