Like the great majority of figurative artists of his generation and training, for Wilfrid the representation of the human form stood as the very pinnacle of artistic achievement. Wilfrid drew from the life model throughout his life as a training for the eye and in preparation for his multi-figured compositions. As well as drawing his models in red chalk, or sanguine, charcoal and pencil, in a manner readily recalling the example of eighteenth-century French draughtsmen and Paul Helleu, a friend of Sargent’s, Wilfrid also occasionally photographed their more complex poses. These were usually developed with a classically inspired composition in mind and were difficult to hold for any length of time.

The majority of Wilfrid’s life drawing and portraiture took place during the winter months at the de Glehns’ home at Cheyne Walk, London. The mirror in the background of one of the photographs, as well as the little porcelain statuette, feature in a number of Wilfrid’s figure compositions of the period.

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