In 1850, Walter Potter was 15 years old when he first began experimenting with taxidermy. By the age of 19, Potter had already created his best-known taxidermy tableaux, “The Death and Burial of Cock Robin” which was displayed, along with his other work, at a pub his family owned in Bramber, West Sussex. Potter’s taxidermy dioramas feature anthropomorphized animals acting out Victorian life scenes. During the Victorian era, taxidermy was a popular practice, and in 1880, a dedicated museum building was opened because the tableaux at the pub had created quite a scene. Over time, the interest in taxidermy declined, and the museum was moved before closing down.
Though Potter’s dioramas could be considered morbid, especially by modern standards, there’s something Beatrix Potteresque (no relation) about his work, mostly in its strange and whimsical Victorianism. “Kittens’ Wedding” was Potter’s last tableaux before his death in 1890; this piece was auctioned at Bonham’s (along with most of the collection) in 2003 for £21,150 (around $35,500). Among those present at the auction were artists Peter Blake, David Bailey, and Damien Hirst, who reportedly bid £1 million (almost $1.7) for Potter’s entire collection, but it was rejected by the auctioneers. This caused the owners of the collection to sue Bonham’s because they believed such an offer should have been immediately accepted in order to keep the collection in tact. In 2007, Hirst told The Guardian that “Kittens’ Wedding” was one of his favorites of Potter’s work: “All these kittens dressed up in costumes, even wearing jewellery. The kittens don’t look much like kittens, but that’s not the point.”
The Telegraph notes, “To a modern eye [...]these ‘freaks of nature’ appear eerily macabre. Indeed, some Victorian viewers were outraged by the grotesquery and criticised Potter for abuse of animals, despite a museum disclaimer stating that no animals had been deliberately killed for the collection.” But then they later explain that not all of Potter’s tableaux were sourced ethically. Before neutering was commonplace, freely roaming farm kittens would often be killed off. Potter had an agreement with a local farmer who provided the kittens; this would explain the high number of participants in his tableaux.
The accompanying images are sourced from Dr. Pat Morris and Joanna Ebenstein’s book about Potter and his work, “Walter Potter’s Curious World of Taxidermy,” released earlier this year. Ebenstein says that she’s interested in “the context that creates these things, and why certain things come to be seen as bizarre to us, when obviously they weren’t at the time.” (via telegraph)