A portrait seen from behind and to the side — the subject nearly fully turned away, only the briefest glimpse of the profile visible at the left edge. The composition is dominated by the hat: a large, soft-brimmed hat rendered in bold ink marks, its volume built from the single curve of the crown and the wider brim below. This hat is drawn with the same architectural confidence Sidney brought to the East Asian branch forms — a few bold marks doing everything.
Below the hat, the back of the head, the neck, and the beginning of the shoulder — each described in ink marks that follow the form's direction. The hair is visible between hat and collar: fine marks suggesting short hair at the nape of the neck.
The jacket or coat below is the most loosely rendered element: large strokes suggesting fabric weight and fold without describing individual garment details. At the lower right, a single mark indicates a lapel or collar.
This back-view portrait is unusual in the ink portrait series — most show the face directly or in three-quarters. Turning the figure away entirely is an act of compositional confidence: the subject's personality is rendered through the hat, the posture, the set of the shoulders, without the face. It works because Sidney understood the hat as a character element, not just a covering.