A reclining figure in pencil — the body extending from the right (head, torso) to the left (legs, feet) across the 19" horizontal sheet, but seen from a specific viewpoint: the feet are close to the viewer and drawn large, the body receding toward the head in a mild foreshortening that compresses the distance between toe and crown. The face at the right is described in right profile — the nose, the brow, a brief profile line — the hair falling loosely. The feet at the left are given individual toe attention, the characteristic mark-making Sidney brings to feet appearing here with the additional weight of proximity.
The foreshortening — the feet larger and more detailed than the distant head — reverses the usual portrait priority: faces are typically the most described zone, but here the closest body part (the feet) receives the most specific treatment while the face recedes into brevity. This reversal echoes the body-part study of Work 1449 [The Single Foot], where the foot alone was the subject, but here the entire body is present in a hierarchical relationship where the foot outranks the face in visual specificity.
The reclining format — the fourth horizontal figure in the new portfolio (after 1408, 1433, 1437) — returns the figure to the ground-level rest that the vertical standing figures cannot achieve. The pencil on warm paper produces a quiet, light drawing: the marks tentative in places, the contour drawn with searching rather than assertive lines. The breast at mid-composition is indicated as a rounded form in right profile. The overall impression is of a private moment — a figure lying at ease, the feet near, the face far, the body given over to rest.