A standing figure drawn in black chalk — not sanguine — on a white paper ground: the first black chalk work in the new portfolio sequence and the first significant medium change in the 12.5"×19" to 9.5"×25" group. The figure stands in three-quarter profile from the right, the face in right profile with the arm raised overhead and the hand resting on or near the top of the head. The body is drawn with the characteristic single-contour economy, but in black chalk the line carries a different visual weight — heavier, more decisive, the marks more visually present against the white ground than the sanguine's softer red.
The black chalk is applied with cross-hatching at the left side of the figure — a zone of shadow or tonal depth at the hip and upper thigh — the only interior mark in the drawing. This is the same additive approach used across the sanguine figure drawings, but in black chalk the hatching reads more emphatically, the shadow zone more pronounced. The raised arm overhead — the elbow bent, the hand near the head — creates the composition's primary dynamic: the body's vertical line interrupted at the top by the arm's angular extension, the silhouette broken at the crown.
The 9.5"×25" format is narrower than the 12.5"×19" sheets (when vertical) but taller — a proportionally extreme vertical strip that, like Work 1411's 7.25"×19.5", asks the figure to fill a radically elongated field. In this format the standing figure from feet to raised-hand fingertips spans nearly the full height, the body stretched upward to fill the vertical dimension. The raised arm functions compositionally to extend the figure further into the upper zone of the paper, preventing the head from simply ending the composition.
The black chalk introduces a new chromatic register to the portfolio: where the sanguine works read as warm, red, flesh-toned, the black chalk reads as cool, graphic, architectural. This tonal shift may mark the beginning of a separate sub-series within the new portfolio, distinct from the sanguine group. Compared to the extensive black chalk figure drawing tradition seen earlier in the collection — Works 1221, 1246, 1247 — this drawing feels more experimental, the narrow format pushing the figure into a more reduced and structural presentation than the large-sheet studies allowed.