A large-format seated nude in pencil on an ochre sheet that is the most significantly damaged in the new portfolio sequence: heavy foxing throughout the surface, a long vertical tear or fold line at the upper left descending nearly a third of the paper's height, and general discoloration and spotting across the field. Despite the paper's condition the drawing itself is clear: a frontal seated figure, the body facing the viewer with the face in slight right three-quarter, the torso broad and the breasts fully described, the legs extending forward with the knees up, both hands visible resting at the figure's sides near the hips.
The pencil work is confident and relatively complete for the large format: the face receives a brief profile indication — the brow, nose, and lips in slight three-quarter — the torso is described with contour and interior marks at the belly and the inner thigh zone, and the hands at the sides are each given specific finger indication. The seated-forward posture, with the knees raised and the legs open, gives the composition a wide, stable base contrasting with the torso's verticality above.
The paper's condition is the primary challenge for this work in any book context: reproduction will require careful handling of the foxing and discoloration, and the tear at upper left should be noted as a conservation priority. The drawing beneath the damage is a capable and fully realized large-format figure study — the seated nude in frontal presentation, a classical pose executed with Sidney's characteristic economy. The damage does not diminish the work's curatorial significance but does affect its reproducibility and display potential.