A large blue pencil figure drawing — the model seated on the model stand, seen from behind and slightly to the right. The back view reveals the shoulder blades, the spine's line, the hip. The head at the upper right is barely visible in partial profile — the barest suggestion of a turned face. An arm extends to the left, resting on the stand's back edge.
The model stand is fully described: its rectangular form creates the geometric frame within which the organic figure is contained. The contrast between the stand's geometry and the figure's curves is the composition's formal argument.
The blue pencil marks are at their most searching here — some lines doubled or corrected, the drawing having the quality of active looking rather than confident recording. This is the live process: the eye finding the form, the hand following the eye, the mark sometimes uncertain before becoming definitive.
At lower right, a small signature — the abbreviated form Sidney used on drawings he considered complete. The feet at the lower left of the composition are specifically described, the toes present.