The first horizontal work in the new portfolio sequence — the paper turned so that 19" runs across and 12.5" top to bottom — and with the format change comes a dramatic compositional shift. The subject is a seated figure seen from the front, the upper torso dominating the composition while the lower body trails off into brief indications at the bottom. The figure bends sharply forward, the shoulders rounded, both hands active: the left arm crossing the body to grip the right elbow, the right hand resting in the lap with the fingers curled inward. The head is bowed, the face visible as a brief indication below the lowered brow — an eye mark, the nose in slight three-quarter, the chin — without elaboration.
The horizontal format concentrates the drawing on the torso's breadth and the hands' interlocked activity rather than on the vertical extension of the standing body. The sanguine here is applied in the most interior-descriptive way of the series — brief parallel marks at the right side of the torso indicate the ribs and the shadow of the bent arm against the body, a small zone of tonal description in an otherwise outline-driven drawing. The two breasts are described with characteristic economy, each as a curved lower line with a small nipple mark, both visible because of the forward lean and the slight three-quarter rotation of the torso.
The most visually arresting element is the small dense cluster of marks at the center of the composition — the right hand with fingers partially curled inward, sitting between the crossed arm and the lap. This marks a different level of attention from the contour drawing of the rest: the hand is observed, the fingers given individual weight and specific curvature, the knuckles suggested. Within a drawing otherwise made of single continuous lines, this dense cluster reads as the composition's focal point — the place where Sidney's attention slowed and settled.
The horizontal format represents a deliberate choice to draw this inward-seated figure across rather than up, treating the bent torso as a horizontal mass. The seated-clutch pose echoes in spirit, if not in form, the standing clutch of Work 1405 — two consecutive portfolio drawings in which the body is self-enclosed, the arms turned inward, the face minimal. The sequence is building a vocabulary of self-contained, withdrawn poses that will likely contrast with more extended and open figures to come.