A back-view figure in green chalk standing at or perched on a stool — the stool's four legs visible below the figure's own legs, extending to the paper's lower edge in two pairs of parallel vertical lines. The model stands with the hands clasped behind the back at waist level, the arms bent at the elbows and the interlocked hands resting against the lower spine. The head shows a compact arrangement of hair — a bun or short cut — the nape of the neck visible above the clasped hands. The body fills the upper half of the composition, the stool's legs occupying the lower half.
The stool is the first piece of furniture to appear in the new portfolio figure drawings — a prop that has appeared in the earlier figure sketchbooks but not yet in these narrow-format works. Its four legs, rendered in two pairs of parallel green lines descending to the paper's edge, create an unusual lower-compositional zone: the figure supported and elevated above the ground, the legs multiplied from two to six (the body's two plus the stool's four). This multiplication creates a formal puzzle that the eye must resolve — which lines are legs, which are stool.
The hands clasped behind the back at the lower spine — the arms bent, the interlocked fingers resting against the sacrum — is a specific and unusual gesture, one associated with standing at ease or inspection. It presents the back fully open, the arms not interrupting the back's expanse but gathered behind it, the body's posterior entirely visible from shoulder to ankle. Among the green chalk back views in the new portfolio, this is the most architecturally composed: the stool's geometry below echoing the figure's geometry above, both ordered and vertical.