Mr Drysdale, with an imaginative use of tone and subtle distortion of form, creates a dramatic effect in his Albury Platform.
(Daily Telegraph, Sydney, 14 August 1943, p. 8)

Almost identical in size to Soldiers , Albury platform provides an interesting companion. The figures of soldiers sleeping while waiting for the train, enveloped in their greatcoats and hats and resting on kitbags, closely resembles the work of British artist, Henry Moore. Several of Moore's drawings of figures huddled in underground war shelters in London were reproduced in the September 1941 issue of Art in Australia. Drysdale had also seen and kept a copy of the catalogue of the Exhibition of Drawings for Sculpture by Henry Moore at the Mayor Gallery in London in 1939.¹ Drysdale responded to the sculptural qualities of Moore's work which complemented George Bell's classical teachings on the importance of form.

Albury platform was owned by Cecile Belbridge who, with her partner Jean Stephen, were among Drysdale's most important patrons during the early 1940s. Their collection included his Home town, Country brown-out (1943), Nude (1944) and Landscape with dead horse (1945).² Jean Stephen was Drysdale's sister-in-law.