A bust-length portrait in red chalk on aged paper — a young woman in three-quarter view, the face turned slightly left and downward, the gaze not meeting the viewer. The hair is cut in a clean bob to the jaw, the style placing the drawing somewhere in the mid-twentieth century. The expression is absorbed, self-contained, the face giving nothing toward the artist.
The sanguine chalk on the aged cream paper produces the warm quality shared with Work 1347 (The Ponytail Profile) and 1345 (Downcast, Charcoal) — a family of aged-paper drawings that carry a different temperature from the standard white-cream studies. The red chalk marks sit softly in the paper grain, the lines less sharp than on fresh paper.
The face is carefully observed: the brow with its single mark, the eye with its lash and lid carefully placed, the nose in near-profile, the lips closed and set. The collar of a garment is briefly indicated below the neck — a polo collar or open shirt, enough to establish the figure as clothed. The shoulders and upper chest are barely suggested.
The turned-away, downward gaze connects this portrait to the withdrawn faces throughout the collection — the model choosing not to look back, the artist drawing what is offered. In red chalk on warm paper, the effect is intimate rather than evasive; the face in its own world, Sidney observing from outside it.