A seated nude in dark ink on cream paper — the figure seated on a stool or chair, one leg visible below the seat, the torso in slight right three-quarter with the face turned away so that the back of the head is presented and only the faintest profile of the jaw is visible at the left. The body is drawn with the confident brush-or-broad-nib ink approach established in the large portrait series, but here applied to a full figure seated: the breast described with a single curved line and nipple mark, the belly below, the arms at either side with hands resting on or near the thighs, the legs below the stool.
The ink here is the most tonally rich of the ink figure studies: shadow marks at the inner thigh, the waist's right side, and the underside of the left breast give the figure more three-dimensional presence than the simpler contour figure studies. The stool below is indicated by the horizontal seat line and a single vertical leg visible at the lower right. The cream paper on which the ink reads slightly warmer than white adds to the drawing's intimate quality.
The seated-on-stool pose connects to Work 1466 [The Green Stool] and the charcoal seated Work 1496 in this batch, establishing the stool as a recurring prop in the sessions that produced these works. Among the ink nude figure studies — distinct from the ink portraits — this is the most tonal and the most fully developed, the shadow marks giving the body a weight and volume that the contour-only ink figures do not have.