A standing figure in black chalk on a warm cream paper — aged, with slight foxing at the upper right corner — a different ground from the white paper of Work 1412, giving this drawing a warmer and more antique quality. The figure stands in back-oblique view, turned slightly away from the viewer, the left hand resting on the left hip with the elbow jutting out — creating a strong angular interruption of the body's left silhouette. The head turns slightly to the right, the hair loose and described in multiple strands falling from the crown. The body below descends in a slight contrapostal curve, the hip prominent, the legs extending to broad flat feet at the bottom edge.
The black chalk on the warm cream ground reads differently from the same chalk on the white paper of 1412 — softer, the line less stark, the tonal contrast reduced. The chalk is applied in longer, more fluid strokes here, the body's outer contour drawn with confidence and occasional reinforcement, the line doubled in the hip region where the curving form most needs definition. Cross-hatching is absent; the hip-shift posture generates enough visual complexity through the silhouette's curve without requiring interior shadow.
The hand-on-hip gesture — the elbow jutting at the body's left edge — is a classic contrapposto indicator, signaling weight displacement and relaxed stance. In the context of the narrow 9.5"×25" format, the jutting elbow creates the only outward horizontal extension in an otherwise vertical composition, the angular arm breaking the long axis of the body at the figure's widest point. The loose hair in multiple strands echoes the streaming hair of Work 1409, though in this case the strands fall naturally with gravity rather than being thrown against it.
This is the second drawing in the 9.5"×25" format and the second in black chalk, confirming that this medium and this paper size are forming a sub-series within the larger portfolio. The aged cream ground of this sheet contrasts with the white paper of 1412, suggesting either that different paper was available or that older sheets were interspersed with new ones. The natural, gravity-following pose — weight on one leg, hand on hip, hair down — after the backward arch of 1409 and the raised-arm extension of 1412, introduces a note of relaxed normality to a sequence otherwise notable for extreme or self-enclosed postures.