A figure drawing in charcoal — a seated woman viewed from the rear three-quarter, her body turned away on a wooden chair whose diagonal geometry dominates the lower half of the composition. The chair is drawn with an unusual precision for Sidney's figure work: the back struts, the seat rails, the legs, all correctly placed in the composition's perspective. The figure sitting in it is by contrast loosely handled, the body's contour sketched quickly.
The chair creates a strong diagonal thrust from the lower left to the upper right, the figure's body interrupting and continuing this diagonal simultaneously. The lower left foreground extends a leg across the floor, the foot barely indicated. The upper body turns right and slightly forward, the head lowered, the loose hair falling beside the face.
The charcoal medium is more tonal here than in the life-drawing paper studies — the shadow at the chair back and the figure's right side built up with broad soft strokes. The composition breathes through its white areas; the paper is not filled but selectively activated, the blank lower right providing the image's air.
Among the figure-in-furniture drawings — the stool drawings, the platform drawings — this is the most architecturally complex, the chair itself becoming a structural subject. The diagonal chair geometry and the curved body above it are the drawing's formal argument: the made thing and the living thing in the same space.