A standing figure in extreme left profile — the most sculptural and the most heavily toned of the black chalk works in the portfolio — in which the entire left side of the figure is built up through dense cross-hatching into a broad shadow zone, leaving the right-facing contour as the body's primary light edge. The figure stands in strict left profile, the face turned to the left in pure profile view — the nose, the chin, the brow all described in a single profile line — but the face itself is blank: no eye, no nostril, no mouth, just the profile silhouette without interior features. The body below receives the most sustained tonal treatment of the portfolio: the cross-hatching on the left (shadow) side runs from shoulder to ankle, the parallel marks layered in several passes to build a deep, consistent shadow plane.
The chalk application is systematic: the outer right-edge contour is drawn clean and light, the shadow zone on the left built from multiple layers of diagonal hatch marks, the two sides of the figure making a clear tonal division. This approach treats the narrow 9.5"×25" format as a stone surface and the chalk figure as a bas-relief — the light edge describing the form's outer boundary, the shadow plane giving it depth. The feet below receive the characteristic toe-specific treatment even within the heavy tonal context, the individual toes briefly indicated.
The profile face without features — the blank profile — is a variation on the blank frontal face of Works 1414 and 1418. Where those works presented the face-forward figure with an empty oval, this work presents the profile silhouette without interior description. The profile blank is less uncanny than the frontal blank — the profile face, rendered as pure outline, already tends toward abstraction — but it maintains the portfolio's recurring motif of the face withheld. In all three cases (1414, 1418, 1426) the body is fully present while the face is specifically absent.
Among the 9.5"×25" black chalk works, this is the most formally resolved: the clean division between light-right and shadow-left, the systematic tonal construction, the strict profile against the narrow vertical field. The shadow zone reads almost as a cast shadow — as if the figure were standing against a wall with a light source from the right — and the narrow format reinforces this architectural reading, the body as column, the shadow as the column's shadow. It is the most formally ambitious drawing in the black chalk group.