We found 70553 price guide item(s) matching your search

A Japanese K.O. Toy Company tin plate clockwork circus car with chimney 1950/60 clockwork action working well and lithograph decoration in very good order, slight distortion to one wheel arch - Length 12cm x Height 12.5cm

Pablo Picasso (Spanish, 1881-1973) - a large black and white lithograph print after Picasso entitled 'Sleeping Woman', mounted and framed under glass, image size 74 cm x 98 cm - Est £80 - £120

HENRI MATISSE lithograph poster 'Travail & Joie' signed in the plate, originally purchased in 1965 from the Redfern Gallery, framed but not glazed, bottom cut, A/F

Ben Johnson, limited edition lithograph, 15/15, signed in pencil lower right plus one other oil

Mane Katz a framed polychromatic limited edition lithograph of musicians 39/150, 53.5 x 39cm

Rosemary Simmons a framed and glazed limited edition 26/50 polychromatic lithograph of a flower dated 1971, 76.5 x 55.5cm

Rosalind Forster, framed limited edition lithograph 58/150 entitled "Basket of roses". Framed size 85x66cms. Prov. Christies Contemporary Art Galleries London and New York.

•20th century - Semi-draped female figure with other figures nearby, possibly a ballet school, indistinctly signed, also inscribed P.A., artist's proof, coloured lithograph, 69" x 48.5"

Lois Haghe possibly after William Havell (19th century) - 'Great Western Railway, Kelston Bridge near Bath', inscribed, black and white stone lithograph, 8.75" x 12"; together with a bookplate of Bath within a maple wood veneered frame, 6" x 8" and a damaged watercolour on rice paper, possibly an early view of 'The Hong's Hong Kong', buildings with mountains, boats by a shoreline in the foreground, 6.5" x 10" (3)

Cecil Aldin (1870-1935),'Hunting Types',signed in pencil to the mount,lithograph print,34 x 42 cm,framed and glazed,together with three other signed prints in the same series CONDITION REPORT: Heavy foxing

RICHARD PLATT Shell oil refinery circa 1955 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

ALEX KATZ Mourlot Graphics Lithograph 1970 75 x 54 cm

RICHARD PLATT The George and Vulture Chop House circa 1954 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 51 x 76.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Path through the park Three colour lithograph Signed and dated '59 #18/30 Paper size 80 x 58cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT The George and Vulture Chop House circa 1954 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 51 x 76.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT A Crate of Drink circa 1951 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56 x 38.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Horse guards circa 1953 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 76.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Billingsgate circa 1954 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT The Pillow Fight circa 1952 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56 x 38.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Mending Nets circa 1953 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017. 

RICHARD PLATT Water Fountain and Children circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Boiling Lobsters circa 1953 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATTBlowing Bubbles circa 1951Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 38cmRichard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965.Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man.Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings.He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!)Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself.Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Myself Among Other Things circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 38cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

AUGUSTE RENOIR Portrait of Ambrose Vollard Lithograph Signed to the print 25.5 x 20.5cm

RICHARD PLATT Path through the park Three colour lithograph Signed and dated '59 #13/30 Paper size 80 x 58cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Snakes circa 1949/50 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 28cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Rocks circa 1955 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATTCaribbeans Playing Pin-Ball circa 1950Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 37.5 x 28cmRichard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965.Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man.Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt’s work, like that of Smith, Greaves and Tilson, developed from the late 40’s through to the early 60’s from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men’s College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings.He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60’s Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!)Richard developed Parkinson’s and was unable to sign many of his lithographs and drawings himself.Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017. Condition report: Some prints have minor edge damage, no foxing, no tears, have been stored flat, oils will require individual condition reports. Prints have grubby edges from the printing process.

RICHARD PLATT Pearly King and Queen for the Coronation circa 1953 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 38.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Path through the park Three colour lithograph Signed and dated '59 #26/30 Paper size 80 x 58cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Fish Washing Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 54 x 38cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Myself Among Other Things circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 38cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Myself Among Other Things circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56.5 x 38cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Boiling Lobsters (II) circa 1953 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 57 x 38cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Water Fountain and Children circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Landscape untitled Three colour lithograph Signed and dated '59 #12/14 Paper size 77 x 56cm Together with a second impression signed by the artists widow Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

RICHARD PLATT Myself with Fruit circa 1950 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 56 x 38.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

Theophile Alexandre Steinlen (French, 1859-1923), Où est la gare de l'Est ? gare du N. [Nord], 1916, lithograph on Japan paper, numbered 93/100, signed "Steinlen" lower right in pencil. 32 x 25cm

L. S. Lowry 1887 - 1976 Pencil Signed Ltd Edition Colour Print / Lithograph. Titled ' View of a Town ' Fine Art Trade Guild Stamped, Published by Mainstone Publications. 850 Edition Only. Date 1973, Signed by the Artist In Pencil to Margin. Mounted and Framed Behind Glass, No Fading - Wonderful Condition In All Aspects.

L S Lowry 1887-1976 Artist Signed Limited Edition Colour Lithograph Print titled 'A Street Scene, near a factory'. Edition of 850. Stamped and numbered lower left. Fine Art Guild blind stamp. Signed by L S Lowry in pencil to margin. Published by Adam Collection Ltd - 1973. Print size only 11.5 by 9.5 inches. Mounted and framed behind glass. No fading. Excellent condition.

Toy Story 2 Boxed Toys -As new condition. Comprises Talking Alien, Extra Terrestial Parlant, Emperor Zurg, Power Boost Lightyear, Toy Story 2 Video, Chicken Run, , Bullseye, Buzz Lightyear and Woody Key chain and Disney Lithograph (8) items in total,

A Victorian advertising poster for 'Walter Hart, house furnisher' of Chichester, with a colour lithograph image of Queen Victoria, surrounded by the Duchess of Cornwall , Prince Edward and the Duke of Cornwall etc. 70 x 49cm.

A set of various K F Barked hand coloured lithograph prints, mainly study of dogs

Pictures and Prints - a limited edition print, 7/50 , The George Hotel, Dorchester - on Thames; a framed coloured lithograph, Au Sion D'Or, signed in pencil; etc (6)

A GILT FRAMED LITHOGRAPH BY M & N HANHART DEPICTING A BIRDS NEST & A BASKET

A lithograph drawing, scene of mother and two children, mother lies on the ground with small girl beside her while an older boy looks on from behind, signed to lower right, signature indistinct, mounted on board, 20 cm high 26 cm wide

After Harry HallHunt (Charles) engd. The Great Match, Between the Flying Dutchman .. & Voltigeur .. run at York the 13th May 1851,... , L. (Bailey Brothers) 1854, cold. lithograph, approx. 66cms x 107cms (26" x 41") gilt frame. (1)

Signed French Artist's Proof limited edition lithograph no 40/42 of a horse racing scene by Vincent Haddelsey (1934-2010) (printed on the presses of Guillard Gourdon France 1974) 70 cm x 56 cm

Pablo Picasso lithograph advertising the 1955 Vallauris Exhibit published in 1957 46 cm x 57 cm

Signed limited edition French artist's proof lithograph 39/52 of a circus scene with dancing horses by Vincent Haddelsey (1934-2010) (printed on the presses of Guillard Gourdon France 1974) 71 cm x 59 cm

Livingstone, David MISSIONARY TRAVELS AND RESEARCHES IN SOUTH AFRICA London: John Murray, 1857 First edition. Col. & b/w illustrations in clean bright condition. Portrait of Livingstone has foxed borders. Fold-out col. lithograph frontis with foxing to reverse of frontis. Recounts the Journey from the Cape to the Zambezi River. Full leather: on new binding with scuffs to top and bottom of spine edges, initial slight scattered foxing.

Bettie Cilliers-Barnard (South African 1914-2010) PARIS, 1981 lithograph laid down on board, signed, dated 1981, numbered 33/50 and inscribed 'Paris 1981' in pencil in the margin sheet size: 63 by 47cm

McLeod, Lyons TRAVELS IN EASTERN AFRICA WITH THE NARRATIVE OF A RESIDENCE IN MOZAMBIQUE, 2 VOLS London: Hurst and Blackett Publishers, 1860 First edition. Fold-out map and portrait of author as frontis to Vol. 1 and lithograph. View of Mozambique as frontis to Vol. 2. Blindstamped brown cloth, internal hinge split to Vol. 1. British and Foreign Anti-Slavery Society Stamp on title page. (2)

Benjamin Chee Chee (Canadian 1944-1977) FRIENDS lithograph laid down on board, signed and dated in the plate sheet size: 60 by 47cm, unframed

John Banting, unsigned lithograph, "Cake", 10 1/2 x 14ins, mounted but unframed

Christopher Brace, signed and dated '90 in pencil to lower image, lithograph, "Enjoy your Achievements", 19 x 17ins

After Adolphe Mouron Cassandre (1901-1968): A 'Nord Express' travel poster, colour lithograph, official 1980 re-issue from 1927 by the grandson of the artist, Henri Mouron, Studio Editions, printed in France by Bedos, Paris, 100 x 69 cm

Oskar Kokoscha (1886-1980):Self portrait, lithograph, hand signed, 80 x 110 cm

Alfred Steinmetzer (1918-2007), lithograph, 'Cactee', signed in the print, with 1954 Lugano exhibition, catalogue 'III Mostra Internazionale Di Bianco E Nero' (see plate 25 for 'Cactee') 33 x 23cm