A full-length clothed figure in ink — seen from behind, the body leaning forward with both arms raised and pressing against something above and forward of the frame: a wall, a doorframe, a shelf. The figure wears a jacket and trousers, both garments described with the ink's characteristic bold strokes, the jacket's back panel and the trouser legs given their fabric weight. This is the only active full-body clothed figure in the entire sketchbook series.
The posture is one of physical effort or arrival — the arms raised, the back bent slightly forward, the legs planted wide. The shoes at the lower edge are drawn with the same attention Sidney gives to bare feet elsewhere: the toe and heel indicated, the shoe's form observed rather than merely suggested. The figure is doing something; the body is in the middle of an action.
The head is barely present — tilted forward and down, the face not visible, the back of the skull the only indication of a head at all. The body is the subject, not the face. In a sequence of almost exclusively face-dominated portraits, this full-figure clothed study is entirely exceptional: no face, all body, all movement.
The drawing raises the same question as several others in the sketchbook run — who is this, and where? The jacket and trousers place the figure in ordinary life; the raised-arms posture could be moving furniture, reaching for something on a high shelf, or bracing against a doorframe. The specificity of the action without the face's identity gives the drawing a quality of pure observed life.