A sketchbook-style page of object studies in sanguine chalk — the composition organized around a dominant central subject (a large bag or satchel hanging vertically, its corrugated or accordion-pleated closure at the top described with careful parallel marks) with supporting studies scattered around it. Two stools or chairs appear at the left and right margins, their tubular legs and flat seats described with structural attention. At the lower right of the composition, three separate smaller sketches appear: what reads as a nose in profile, a small shoe or ballet slipper, and an ambiguous rounded form. A larger geometric surface appears at the upper right.
The satchel at center is the most fully realized object study in the composition: the bag's body described with the outer contour and the pleated closure rendered with individual parallel marks that give the accordion structure its specific texture. This is observational drawing of an inanimate object with the same sustained attention Sidney gives to the human face and body — the bag's particular form, the closure's particular texture, the way it hangs.
The smaller studies at the lower right — the nose profile, the small shoe, the ambiguous form — suggest a session in which Sidney was sketching whatever was at hand or in mind: objects in the studio, details of objects, fragment studies. This is a window into the exploratory, non-systematic aspect of the practice — not a portrait sitting or a figure session but a free moment of drawn observation. The CSV classifies this as a Still Life, and while the satchel and stools qualify, the nose profile particularly suggests a moment of casual observation that crosses genre boundaries. The sanguine chalk gives all these objects the same warm bodily quality as the figure drawings — the still life subjects treated with the same medium as the human body.