A sanguine standing figure in three-quarter view with the heels raised — the model standing on the balls of the feet, the raised heels and the elevated posture giving the figure a quality of upward straining or reaching that none of the flat-footed standing poses achieves. The body tilts slightly forward with the weight shift, the back presented in three-quarter view, the face not described. At the base of the composition, faint horizontal lines suggest the edge of a platform or step the model stands on, the raised heels leaving visible gaps between the heel and the implied floor surface.
The sanguine is applied with the portfolio's characteristic economy — outer contour, the essential interior marks at the back's musculature, the hands briefly indicated at either side. The raised-heel posture requires a different lower-leg description from the flat-footed standing figure: the calves are tensed, the Achilles tendon's line more prominent, the feet angled as they distribute weight through the ball and toes. Sidney captures this tension with characteristic attention to the specific form — the calf's line differs from the relaxed calf of the flat-footed figure.
The tiptoe posture appears in classical figure drawing tradition as a pose associated with dancers, reaching, and aspiration. Here it reads without overt narrative but with physical specificity: a body elevated by its own effort, the balance maintained through muscle tension rather than structural support. The platform marks at the base ground the figure in space without cluttering the composition. Among the sanguine standing figures in the 9.5 by 25 format, this is the most physically dynamic — the body caught in an act of vertical effort.