The most formally abstract figure drawing in the collection — a large horizontal pencil drawing of a reclining figure seen entirely from behind, the body reduced to a series of large rounded masses that fill the composition from left to right. No face, no hair, no individual details — just the physical geometry of the human back and hips seen from behind, in repose.
The figure's form creates three major masses across the horizontal field: the back at upper left, the hip at lower center — the largest and most rounded form, occupying most of the composition — and the beginning of a leg at lower right. These masses are described with clean contour lines and soft interior tonal buildup that gives each form its volume without breaking the surface with detail marks.
At the base of the composition, a thin shadow zone and a suggestion of the surface the figure rests on grounds the drawing in physical space without describing it. The figure is on something soft — a blanket, a mattress — the edge marks of the surface material barely visible at the very bottom.
The reduction to pure volumetric form — no identifying features, no individuality, just mass — connects this to the Curled Figure (922) and the other back-view drawings as Sidney's most formally austere engagement with the human body. The body as landscape, as pure topography.