LOUIS WAIN (BRITISH 1860-1939) THERE IS LUCK IN ODD NUMBERS Gouache heightened with white Signed (lower right) 20.5 x 33.5cm (8 x 13 in.)Provenance: Abbot & Holder, London Private Collection, purchased from the above in 19[?]7 Gifted from the above, Private Collection, berkshire To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
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LOUIS WAIN (BRITISH 1860-1939)CATS, KITTENS AND A RUNNING DOG, STUDIES FROM A SKETCHBOOKCrayonSigned below tail of seated cat (lower left)26 x 21cm (10 x 8¼ in.)Provenance:Sale, Dreweatts Neate, Newbury, 1 March 1995, lot 31 Private Collection, Berkshire To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) BLACK CAT Gouache heightened with white Signed (lower left) 35.5 x 27cm (13¾ x 10½ in.)To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) A TABBY CAT Gouache heightened with white Signed (lower left) 35 x 27cm (13¾ x 10½ in.)To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) CAT AT A PIANO Watercolour and gouache Signed (lower left) 22 x 17cm (8½ x 6½ in.)Provenance: Chris Beetles Ltd., London Private Collection, purchased from the above in 1992 Gifted by the above, Private Collection, Berkshire To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) TABBY CAT WITH GREEN EYES, HEAD STUDY Gouache heightened with white Signed (lower left) 35 x 27cm (13¾ x 10½ in.)To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) SEATED TABBY CAT Gouache heightened with white Signed (lower left) 35 x 27cm (13¾ x 10½ in.)To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) HOW'S THAT, UMPIRE !? Watercolour and ink Signed (lower centre) inscribed with title below mount 40 x 28.5cm (15½ x 11 in.)Provenance: Chris Beetles Ltd., London Private Collection Gifted by the above, Private Collection, Berkshire Exhibited: London, Chris Beetles Ltd., The Cat Show, 19-30 September 1995, no. 69 To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939) PLAYED ! Ink and pen Signed (lower centre) further titled in pen (lower centre) 18 x 13.5cm (7 x 5¼ in.) Provenance: Chris Beetles Ltd., London Private Collection, purchased from the above in 1996 Gifted by the above, Private Collection, Berkshire To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
LOUIS WAIN (BRITISH 1860-1939)CRICKET ON THE VILLAGE GREEN Watercolour, ink and gouache Signed (lower left)22 x 17cm (8½ x 6½ in.)Provenance:Chris Beetles Ltd., London Private CollectionGifted by the above, Private Collection, Berkshire Exhibited:London, Chris Beetles Ltd., Louis Wain & The Summer Cat Show, August 1997, no. 15To enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion. Condition Report: Unexamined out of glazed frame. Slight undulation to the upper edge of the sheet under the mount. A couple of scattered watermarks most notable to the lower edge, lower right corner and one water drop above the batter's head. Condition Report Disclaimer
LOUIS WAIN (BRITISH 1860-1939) LEG STUMP, OUT! Ink Signed (lower left) inscribed with numbers 78433 (lower right) 12 x 19.5cm (4½ x 7½ in.)Provenance: Chris Beetles Ltd., London Private Collection, purchased from the above in 1996 Gifted by the above, Private Collection, BerkshireTo enter the whimsical world of Louis Wain is to come face to face with a world dominated by cats. Cats playing the piano, cats playing cricket or even cats drinking cups of tea. His anthropomorphic cat illustrations are completely wacky, charming, and delightfully entertaining. As a freelance artist Wain worked on illustrations usually of animals, countryside vistas and recording events such as country fairs for a number of journals including the Illustrated Sporting and Dramatic News and The Illustrated London News. It wasn't until he and his wife Emily rehomed a stray cat which they named Peter did Wain's obsession and repetitive depiction of cats start to consume his artistic output. Emily was diagnosed with breast cancer just three years after their marriage and Wain found comfort in entertaining Emily with funny illustrations of their darling Peter reading, smoking a cigar or doing the washing up. During the late 19th century cats were seen as pests and certainly not kept as pets by the British public as they are today. Wain's contract with Illustrated London News in 1886 changed people's perceptions. His first drawing of anthropomorphic cats was published in the Christmas issue and called A Kitten's Christmas Party. The newspaper gave him the platform to fill the pages with illustrations of humanised cats which helped to change people's perception of the curious and delightful cat which soon became a household favourite. Wain was chairman of the National Cat Club in 1898 and 1911 and supported animal charities including the Society for the Protection of Cats, actively supported his feline companions working to transform attitudes to the humble cat. After the first World War Wain's style moved towards abstraction. This change in style may have been in response to his deteriorating mental health or perhaps his obsessive fascination with the discovery of electricity. He started experimenting with patterned designs using psychedelic colours. This series has become known as the Kaleidoscope Cats. Traumatic episodes throughout Wain's life were deeply influential on his personal struggles and artistic output. After many years of pressure, having to support his mother and five sisters after the death of his father, the death of his wife and the First World War questions have been raised over Wain's mental health and the diagnosis he would be prescribed today. From 1924 until his death in 1939 Wain lived his days committed within several mental institutions. The final location of which was situated in Hertfordshire where he was surrounded by beautiful gardens and most importantly a colony of cats, his lifelong saviour and passion.
Postcards, Louis Wain, 8 cards to comprise At Last, We're All Going To 'Berlin On The Spree', The Wooing Of Kitty, To My Valentine 'Oh Kitty, by your smile I see You're not averse to welcome me!, We's Both Love One Another Does oo love me? Say oo do, Then we's both for ever true, Love Me Little, love me long Is the burden of my song, A happy Birthday be yours Two pussy-cats with love I send; May you a jolly Birthday spend, Diabolo 'A Young Beginner' (gd)
Postcards, Louis Wain, 10 cards to comprise Me Only Shrimping Too, Little Miss Muffet, An Intruder, The Smile That Won't Come Off, I Send This Message By Express….. (blank back), Don't Tax My Baccy, Cheer Up! You Can Still Post Me For A Halfpenny!, At The Cat Show, I Hope You Will Like This Note, The Dogs School (mixed cond fair/gd)
Postcards, Louis Wain, 11 cards to comprise I Am Delighted, I Am Running Away, Just A Few Words, I Shouldn't Have Thought, If Not Prevented, The Worried Look Of The Married Woman, Our Island Home, The Little Truant, A Hitch Occurs But Your Marriage Will Take Place, Cat's Cradle together with a card of a black cat (unsigned) stating 'Leon Verdier Publisher, Entirely made at my own Works in Finchley, London N.12 (generally gd, some age toning and 1 with adhesive marks to rear)
Postcards, Louis Wain, 12 cards to comprise The Favourite, That Bird Is Rather High You Eat It Tommy, It Was Most Enjoyable, I Am Hurrying, I Had A Lovely Time, How Long Are You, My Friend Mr. Fox, Simple Simon, Jack And The Beanstalk, Jack And The Giant Killer, The Queen Of Hearts..., His Mother In Law Pays To Live With Us (gen gd, most with some age toning, 1 with adhesive damage to reverse)
A cased set of 4 George V novelty silver Louis Wain cat menu card holders, by Levi & Salaman, hallmarks Birmingham 1910, each modelled as a cat seated beside an open empty bird cage with a napkin, registration no. 562450, length 5cm, 2ozBase edges have a few extremely minor holes, general wear to high points, hallmarks slightly rubbed and matching
Collection of postcards comprising of: two albums and five loose sheets of postcards including Louis Wain examples, topographical, cartoons, seaside postcards etcAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Louis Wain for The Bristol 'Cat & Dog' Pottery, a pair of squat sack form nursery vases, painted in typical bold lovat green, pink and black, bearing the legends 'Good Gracious How You Frightened Me' and 'It Is Years Since Last We Met', each with printed Louis Wain signature. 10 cm diameter x 9.5 cm overall height.Qty: 2An established private collection
Louis Wain for The Bristol 'Cat & Dog' Pottery, a pair of nursery trios, painted in typical bold lovat green, pink and black bearing the legends "A Regular Cat & Dog's Life","Oh Chase Me", "How Dare You" and "I Wonder Were We Lovers Then" and a printed Louis Wain signature to each item.An established private collectionNo chips or cracks. Some glaze loss to the underside of one saucer (see images). Crazing to all items, with some staining in places, and some enamel loss to the decoration, but nothing too detrimental.
Louis Wain (1860-1939) Cat Illustration, 'He won't go home till washing...and he did not' from The Cats Daily Life, signed lower right, watercolour and pencil, 44 x 29 cm, frame 61 x 45 cmTwo newspaper clippings announcing Wain's death in 1939 attached versoProvenance: from a deceased estate
POSTCARD COLLECTION. A family accumulation of over 100, mixed subject, early 20th century postcards. Includes: patriotic humour & other First World War period cards, artist illustrator humourous cards including Louis Wain, some Cornwall views etc. Variable used condition. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
MISCELLANEOUS POSTCARDS. Thirty early 20th century postcards from a family accumulation. Some real photograph cards including WWI German prisoner compound at Frith Hill, a Curtis No.1 bi-plane in 1909. Also a Louis Wain comic cat card, a quantity of embossed Christmas greetings cards, two 'comic?' USA African American children cards. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Postcards, Louis Wain, set of 6 cards, Davidson Bros Serie 6092, I Had A Lovely Time, You're Always Smoking I'm Sick Of It, The Worried Look Of A Married Woman, The Fisherman's Dream, Its Twins This Time Thank You, My Dear!, A Perfect Angel, Where's Y'r Wings? Hic!! (6) (gen gd but with some foxing and age toning front and back)
Postcards, Louis Wain, a selection of 10 cards of anthropomorphic cats, with 8 by Louis Wain and 1 each by Tom Browne and Violet Roberts. Wain cards include 'The Musician' (violin) published by Ettlinger, 'A Road Race' b/w cycling published by Hartmann, 'At play an exciting moment' published by Tuck, 'Fishermen', 'Actors' (Ettlinger), Christmas cards with Wain illustrations (3), Violet Roberts roller skates, Tom Browne 'elp a poor ole soldier mum' (mainly gd)
Postcards, Louis Wain, a selection of 14 cards of anthropomorphic cats illustrated by Louis Wain (all with wtf), with themes inc. cricket, fan, 'The Road Crossing', 'punting', romance', 'Please excuse the blots', 'Just a line', 'Be Careful', 'I am quite upset' etc. Many from the Tuck Write Away series and also C.W Faulkner (fair/mainly gd, but with wtf)
Postcards, Louis Wain, 4 Tucks undivided back cards to comprise Be Careful and For The Moment It (both unused vg with some slight age toning) and 2 cards (no. 3889 and 3895) featuring cats dressed as Marie Dainton in the Chinese Honeymoon and Walter Passmore in Iolanthe (both p/u with some slight age toning and corner mount marks to Walter Passmore) (4)
Postcards, Louis Wain, a collection of 8 cards of anthropomorphic animals illustrated by Louis Wain, inc. bears and hippos on the ice 'Weighty matters demand attention', dogs at the theatre 'It gave us great pleasure', cockatoos 'Rats', and dogs being soaked with water from hose pipe 'Scrathing up Luck'. Also 4 cards of black cats at the seaside (fair/gd, 3 with wtf)
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