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Presentation: Framed
SN: 127
Oil on panel, 9 x 7½ ins. (23 x 19 cms.)
Provenance: the artist's estate

Platt's paintings, which date from his time as an official War Artist, offer a unique record of Britain at war. Many were painted on the spot at all hours of day and night.
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Presentation: Framed
SN: 128
Provenance: the artist's estate
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Presentation: Framed
SN: 129
Oil on panel, 11 3/8 x 9 3/8 ins. (29 x 24 cms.)
Provenance: the artist's estate

This work can be closely compared to Platt's Convoy Passing the Lizard, Cornwall, 1942, in the collection of the Imperial War Museum, London (inventory number 2416).
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Presentation: Framed
SN: 130
Oil on panel, 9¼ x 7½ ins. (24.5 x 19 cms.)
Provenance: the artist's estate
Literature: The Public Catalogue Foundation, ImperialWar Museum, London, 2006, p. 191.

This work depicts a view along the RiverThames from under Blackfriars Railway Bridge, showing a minesweeper flying the white ensign as it sails under Blackfriars Bridge. A column of the old Blackfriars Railway Bridge is visible on the left; a small section ofWaterloo Bridge can be seen in the distance.There is a painting of the same subject in the ImperialWar Museum (IWM LD 2638). A number of similar panels are in the collection of the RAF Museum, Hendon.

According to the artist’s own notes, this oil sketch is one of two made for the Ministry of Information showing activity on theThames, this being River Mine Sweeper, Night Scene, the other recorded as the same subject with ‘Thundery sky, but day time’.
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Presentation: Framed
SN: 131
Oil on panel, 8E X 6 ins. (22.3 X 15.2 cms.)
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Presentation: Framed
SN: 134
Oil on panel, 12 X 16 ins. (30.5 X 40.6 cms.)

Stody and Glandford churches both date originally from the eleventh century and are situated in Norfolk, five miles from each other.

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Presentation: Framed
SN: 475
Watercolour, 12¼ × 18⅛ in. (31 × 46 cm.)
Provenance: Miss Stannard;The Fine Art Society (no. 2925)

This unidentified view is one that might have been found in any of the large
industrial pre-war cities of that period – the houses, schools and churches
nestling alongside the factories and warehouses, with the railway line, essential for transporting freight, running alongside. Stylistically it resembles a wood-cut, the art form in which Platt excelled, though no printed version of this scene has been recorded.

We are grateful to Paul Atterbury and Michael Barker for assistance.
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Presentation: Framed
SN: 552
Gouache on tracing paper, diameter 6⅝ in. (17 cm.)
Provenance: the artist’s family; Hilary Chapman

This is the original design for Apple Gatherers, a coloured woodcut of 1912.

We are grateful to Hilary Chapman for her assistance.

Thumbnail panels:

John Edgar Platt 1886-1967

Wood engraver and painter, born at Leek, Staffordshire. He studied at the Royal College of Art, 1905-08, and went on to become principal of both Leicester College of Art and Blackheath School of Art. He won a gold medal at the International Print Makers' Exhibition, 1922. He exhibited at the RA, NEAC, RE and with the British Council. During World War II he was an Official War Artist. His work is held by the British Museum, Imperial War Museum, Victoria and Albert Museum and the Tate. He wrote for a number of publications including The Studio and The Artist and produced several books on the art of the colour woodcut.

He worked equally successfully in oil, watercolour and wood engraving, usually confining himself to a small scale; he often worked en plein air, a method he successfully employed to respond directly to his subject. His panels are frequently annotated with notes about the weather and light conditions.

Selected Literature: Hilary Chapman, The Colour Woodcuts of John Edgar Platt, 1999.