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In Altaf’s journals from 1963-’73, the earlier part of which concerns his time in London studying at the Central Saint Martins, he often records his success or failure at sketching live nude models as part of classwork. This figure could be one such study. What is interesting is the rare yet pronounced cubist influence in the work, a stylisation that he did not essay much in his later career. The distortion Altaf achieves in the composition of the chair is also a stark feature of the work.