The only pencil work in this batch and the only true horizontal figure — the paper turned so that 25" runs across the full width — presenting a reclining nude seen from behind, the body stretching from left to right across the full expanse of the sheet. The model lies on her front, propped up on the left arm (the elbow at lower left, the forearm angling down into the surface), the head at the upper left wrapped in a turbaned or twisted hair arrangement — the most architecturally elaborate hairstyle in the new portfolio, the hair coiled and pinned in a way that gives the head a distinct geometric crown. The body extends to the right in a long descending diagonal, the buttocks at the composition's center, the legs extending to the right with the feet at the far right edge of the horizontal paper.
The graphite pencil produces a mark lighter and more delicate than any of the chalk media in the surrounding works — finer in line, more precise in the gradations between light and dark. The pencil has been used to build tonal development at the elbow-and-shoulder zone, where brief cross-hatching marks suggest the shadow of the propped arm, and at the buttock curve where the body's lower surface meets an implied ground. The turban-hair at the head receives the most detailed pencil work: overlapping arcs building the wrapped mass, each coil of the twist indicated individually.
The horizontal format and the reclining pose make a direct formal rhyme with Work 1408's horizontal reclining sanguine, and with the reclining figure studies that appear throughout the earlier large-format portfolio (Works 1099 [Face in Pillow], 1221 [Back View Tonal Mass], and the reclining section of the green chalk series). The 25"×9.5" format — the longest horizontal dimension yet in the new portfolio — gives the reclining body an unusual quantity of lateral space, the figure extending across the full sheet with air at both ends, neither compressed nor cropped.
The turban hairstyle — elaborately wrapped, the architecture of the hair visible as a constructed object rather than a natural form — appears for the first time in the new portfolio and connects to the broader collection's interest in hair as a distinguishing mark. It is the most specifically individual hairstyle in the narrow-format works, signaling a particular model or a particular session. The pencil as medium contributes to the drawing's quality of quiet attentiveness: the slower, more considered marks of graphite against the direct boldness of chalk and ink give this reclining figure the most meditative quality in the batch.