A left-profile portrait in pen and ink — the first pen portrait in the new portfolio sequence — drawn on a warm cream ground with the ink's characteristic unalterable, single-weight line. The face is in strict left profile: the brow line, the nose's slope, the lips, the chin all described in the continuous profile stroke. The eye, visible within the profile, receives the drawing's most specific attention: the eyelashes are indicated individually, a small fan of tiny marks projecting from the upper lid, making the eye the densest and most elaborated zone in an otherwise spare linear portrait. Below the face, the hair falls straight from the crown to the shoulders — three long strands on the right side of the face, the mass of hair on the left described in the broader outer contour. The neck and the beginning of the shoulder are visible at the lower margin.
The ink line has a quality impossible to achieve in chalk: the trace is singular and complete, each mark final and unrevisable. The profile's outer contour — from the crown of the head down through the brow, the nose, the lips, the chin, the neck — is drawn as one essentially continuous stroke with only occasional lifts of the pen. This sustained single-line approach is the most direct expression of the profile in the collection: the entire face's character compressed into one unbroken edge.
The eyelash treatment is the drawing's signature detail. In a face described as pure profile line, the individual eyelash marks — each one a brief downward stroke from the lid's edge — add a quality of physical specificity that the rest of the spare contour deliberately withholds. The lashes make this the most specifically embodied face in the pen portrait sequence. They also carry a quality of tenderness in the observation: Sidney looked at this model's eye close enough to count the lashes.
The 11"×13.25" format is new — neither the narrow vertical nor the 12.5"×19" figure sheets, but something closer to a portrait-specific proportion. The warm cream ground contributes to the drawing's intimacy, the ink's black reading warmly against the cream rather than starkly against white. This portrait, along with 1444, may constitute a pair drawn in the same sitting — the same model, the same ink, two passes at the same profile.