Edward Detmold (1883-1957)

By Lydia Benson

Edward Detmold was born on November 23, 1883, in Putney, London, along with his twin brother, Charles Detmold. The two boys were raised in Hampstead, where they were exposed to Japanese woodblock print collections. Inspired by these blocks, they both began dabbling in art, focusing on the natural world.

Their works were characterized by the blend of observations of the world around them and the stylistic choices in Japanese printmaking. In 1897, the boys exhibited their artwork at the Royal Institute of Painters in Watercolors, not only being the youngest ever to do so, but having work on par with adults. When the boys reached adulthood, they took up residency in West Hampstead and continuously collaborated on artwork. Edward was forced to begin working on his own when Charles took his own life in 1908.

For the next decade, Edward established himself as a talented watercolor artist and printmaker due to his unique influence from Japanese print-making. He illustrated the first English editions of The Arabian Nights (1924), The Jungle Book (1908), and Aesop’s Fables (1910) before he settled down with his mother and sister.

Aesop, The Fables of Aesop (New York, London: Hodder and Stoughton, 1910) Tulane University Special Collections PA3855.E5

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• Title: “The Hare and the Tortoise”
• Description: This watercolor captures the well-known fable of the race between the slow tortoise and the speedy hare. Confident of her victory, the hare takes a break, surveying the landscape, while the tortoise remains out of sight, seemingly far behind. Detmold places the hare prominently at the center of the composition, emphasizing her substantial lead and self-assurance. The title, “The Hare and the Tortoise,” also foregrounds the hare, reinforcing her importance. This framing cleverly misleads viewers, particularly children, building anticipation for the unexpected twist in the story’s conclusion. The moral, “slow and steady wins the race,” is underscored by the hare’s arrogance, surprising the audience when the tortoise ultimately wins. The hare’s dominant positioning and the title’s focus reflect a deliberate strategy to reinforce her as the central character, making the outcome more impactful when the tortoise surpasses her.
• Creator: Edward Detmold (1883-1957)
• Publisher: London: Hodder and Stoughton, 1910

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• Title: “The Fox and the Crane”
• Description: This illustration portrays the fable of the fox and the crane, where the fox teases the crane by serving him soup in a shallow bowl, leaving the crane unable to eat. The crane invites the fox to dinner the next day and serves the meal in a tall vase, which his beak easily reaches but leaves the fox hungry. Detmold captures this second half of the story, emphasizing the fox’s defeat. Her ears are pinned back in frustration as she drools, while the crane stands triumphantly over the tall vase, his smug demeanor evident as he enjoys his dinner. Detmold’s use of warm, rosy hues in the background reflects a mixture of the crane’s red and white plumage, symbolizing that the fox is now in the crane’s element and at his mercy. The contrast between the fox’s defeat and the crane’s satisfaction adds depth to the story's moral, underscoring the theme of just desserts and the consequences of mockery.
• Creator: Edward Detmold (1883-1957)
• Publisher: London: Hodder and Stoughton, 1910

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• Title: “The Wolf and the Goat”
• Description: This watercolor by Detmold illustrates the fable of a wolf attempting to deceive a goat perched on a cliff. The wolf, hungry and scheming, invites the goat down by acting concerned for her safety, suggesting she would be better off on the lush grass below. The goat, aware of the wolf’s true predatory nature, wisely declines, recognizing his selfish intent. Detmold’s composition directs the viewer’s gaze upward, emphasizing the goat on the cliff, her warm tones contrasting with the cool blue sky, making her the focal point of the scene. At the base, the wolf’s face is twisted in frustration, his snarl betraying his hunger and annoyance that his ploy has failed. Detmold enhances the sense of the wolf’s deceit by omitting the lush meadow he alluded to, further exposing the self-serving nature of his invitation. The clear juxtaposition between the towering goat, with her wisdom and caution, and the scheming wolf below reinforces the moral lesson of the fable: not everyone has your best interests at heart.
• Creator: Edward Detmold (1883-1957)
• Publisher: London: Hodder and Stoughton, 1910