A reclining torso study in pencil — the figure on her back, seen from slightly above, the composition cropping everything below the knees and above the collarbone, leaving the midsection as the sole subject. The pregnancy is again unmistakable: the belly rises as a rounded dome from the horizontal plane, the navel a small mark at its center, the lower curve descending to the splayed legs below. The left arm is bent at the elbow with the forearm extending to the left, the right arm similarly bent, both arms framing the torso but not visible in full. A monogram — NS or similar — appears at the lower left corner, possibly the model's initials, possibly a studio mark.
The pencil work here is more tonal than the spare contour figure studies: broad parallel hatching fills the shadow zones at the bent elbows, the inner thigh creases, and the lower abdomen's shadow below the belly dome. The belly itself is described with a single clean outer contour and the small navel mark — the drawing's most specific anatomical note. This is the collection's first image in which the pregnant belly is the center of the composition rather than a feature within a larger figure study, and the horizontal format suits the reclining pose, the body extending across the width of the sheet.
The monogram at the lower left is notable and unusual. No other work in the new portfolio sequence carries a mark of this kind. It is too small and too casually placed to be a signature in the conventional sense, and too specifically positioned — lower left, in the manner of a modest studio notation — to be accidental. If it is the model's initials, it represents the only instance in the collection of a model signing or marking a work made of them. If it is another artist's mark, it raises the question of provenance. Either way it adds a dimension to this drawing that the other pregnancy works do not have.
Together with Work 1452 (the seated blue-ink figure) and Work 1461 (the sanguine profile below), this torso study constitutes the pregnancy triptych — three approaches to the same subject: the profile view of the full figure seated, the close overhead view of the torso reclining, and the sanguine profile of the standing figure. The horizontal format of this work, against the vertical formats of 1452 and 1461, gives the triptych a compositional variety that makes the three works complementary rather than redundant.