The most radical format change in the new portfolio sequence — a strip of paper just 7.25" wide and 19.5" tall, producing an aspect ratio of approximately 1:2.7, nearly three times as tall as it is wide. On this extreme vertical field, a single standing nude figure is drawn from behind in sanguine chalk on a warm cream ground (a different paper surface from the white of 1403–1409), the full-length back view filling the narrow strip from head to feet. The model has a bob cut — the hair cut to jaw length, the back of the head rounded and simply described — and stands at a slight three-quarter angle, the weight on the right leg, the left hip tilting out.
The sanguine on the cream paper reads differently from the same chalk on the cooler white ground — warmer, softer, the line slightly less sharp. The back view is drawn with the sustained single-contour approach: the outer edge of the left side from shoulder to foot in one run, the right side from shoulder to foot in another, the two lines meeting at the neck and the feet. A single vertical mark descends the center of the back from the neck to the top of the buttock — a spine indicator, the one interior note in an otherwise pure-contour drawing. Below, the buttock line and the separation between the legs are described, the calves narrowing to the feet, the toes briefly indicated.
The extreme narrowness of the format forces the body into a different relationship with the paper. On the 19"×25" large sheets, the standing figure had room to breathe — space at the sides, space above and below. On the 7.25" strip, the figure fills the vertical field almost edge to edge, the shoulders nearly touching the side margins, the back presented as an architectural element rather than a figure within space. The spine's descent — the single central mark — reads as the strip's structural axis, the format emphasizing verticality to the point where the body and the paper become formally analogous.
This is the first work in this extreme narrow-strip format in the entire collection. Whether additional 7.25"×19.5" drawings follow or this remains unique is not yet known, but as a single work it represents a deliberate experiment with format as compositional argument: what is the body when the paper is barely wider than the body itself? The answer here is the spine — the one mark that cannot be omitted, the vertical through which everything else is organized.