Through the eyes of an artist

A photographic window on the world
of the Detmold twins

 

 

 

 

 

Tessa Morris-Suzuki

 

 

 

Genius and enigma

In 1983, when an exhibition was opened to celebrate the centenary of the birth of the twin artists Charles Maurice (1883–1908) and Edward Julius (1883–1957) Detmold, the curators described them as ‘two of the most extraordinary figures in the annals of early modern art’. Yet, they added, the Detmold twins’ lives seemed ‘destined to be ill-starred and shrouded in mystery’.^[1] The sense of mystery has persisted. As a more recent essay observes, ‘research into this area is not helped by the fact that the family records were destroyed’ in the years after Edward Detmold’s death.^[2] But now, unexpected photographic evidence is helping to unravel a little of the enigma, while also creating some new puzzles of its own. 

 

 

1 Peacocks, Charles Maurice Detmold and Edward Julius Detmold, etching, 1905, 82 x 162 cm.
MacPhail, Catalogue Raisonné, no. 8

 

 

The Detmold twins were largely self-taught artistic prodigies, who first exhibited at the Royal Academy at the age of thirteen, and at fifteen completed an illustrated picture book which was published by J. M. Dent in 1899.^[3] They went on to win acclaim for their beautiful etchings of creatures from the natural world (Pl 1), and for their set of watercolour illustrations to Rudyard Kipling’s Jungle Book.^[4] The great Pre-Raphaelite Edward Burne-Jones was enchanted by his encounter with the pair: ‘Being twins,’ he wrote, ‘they do just the same things and use just the same words.’ He called them ‘two geniuses’.^[5] In 1905 they were elected Associates of the Royal Society of Painter-Etchers, and the work they displayed in the Society’s exhibition that year was described by a reviewer as being ‘in a class apart; … not only distinctive but distinguished’.^[6] Less than three years later, though, their artistic collaboration was shattered when Charles Maurice (usually known by his second given name) committed suicide by inhaling chloroform, for reasons that have never been properly explained.^[7]

His twin responded to the trauma of Maurice’s death by throwing himself into his work, producing sets of illustrations for nine books between 1909 and 1914 and winning recognition as one of the leading figures of Britain’s ‘golden age of illustration’. But this burst of artistic creativity was brought to an abrupt halt by the outbreak of the First World War. Edward Detmold had a profound aversion to the violence of war, and applied to be recognised as a conscientious objector. His appeal to the authorities was rejected and he was imprisoned for a while before being sent to labour at one of the work camps created by the Home Office to employ objectors and deter others from joining their ranks.^[8]

His experiences left him troubled and extremely shy, and stimulated a search for spiritual enlightenment, which he recorded in three small mystical texts, published by J. M. Dent in the early 1920s.^[9] Despite his social and psychological unease, though, the immediate post World War I years became another phase of intense artistic creativity. Fascinated by the notion of an imagined Orient (to which he never travelled), he produced a series of fluid and dynamic etchings of desert scenes, as well as an alluring set of illustrations to The Arabian Nights, published by Hodder and Stoughton in 1924 (Pl 2). His love of the natural world was also reflected in his illustrations for WH Hudson’s Birds in Town and Village (1921) and Fabre’s Book of Insects (1923), as well as in increasingly colourful and stylised etchings and paintings of birds, beasts and butterflies.

 

 

2 The wolf changed into a cock which began picking up the grains, Edward Julius Detmold.
Illustration for The Arabian Nights, Hodder and Stoughton, London 1924

 

 

But there was also a darker side to his imagination evident in a series of drawings and etchings where he explored themes from human evolution, focusing particularly on the moments when violence and conflict emerge in social life. His impassioned rejection of the materialism of modern civilization, which he saw as the source of 20th-century mass warfare, found its sharpest expression in a disturbing set of paintings with accompanying text, entitled ‘The Sword and Gold’ or ‘The Truth’, and subtitled ‘What I have Seen 1933’. Clearly inspired in part by the rise of Nazism and the global military tensions of the 1930s, this work was also a cri de coeur for a spiritual revolution: ‘The truth does not rest upon bayonet points, nor float upon a sea of blood; nor depend upon the commercial exploitation of the world; but upon the principle of self-overcoming and the practice of love’ (Pl 3). ^[10]

 

 

3 ‘Civilization?’ Edward Julius Detmold, c1933. Oil on paper, 32 x 19 cm. Private collection

 

 

By this time, Edward Detmold had retreated from the London art world and become increasingly reclusive, withdrawing into the sheltering cocoon of the household that he shared with his parents and with two friends – artist and fellow conscientious objector Sydney Laurence Biddle (1888–1960) and musician Harold Ranken Hulls (1899–1972). Soon after the outbreak of the Second World War, he exhibited his work for the last time. By then he and his household had evacuated to the Sussex coast, and around the start of 1941 they moved again to the little Welsh border town of Montgomery, where Detmold, his mother, sister and brother-in-law, together with Biddle and Hulls, lived for the rest of their lives.^[11] In his final decade-and-a-half, Edward Detmold became a complete hermit, hardly ever seen even by close neighbours. By the mid-1950s, he was suffering from arteriosclerosis and going blind, and in July 1957 – as his brother had done almost half a century earlier – he committed suicide.^[12]

His death went entirely unrecorded in the art world, where his work had long been forgotten. When the last remaining member of the household – the Detmold twins’ sister Nora – died at the end of 1976, the crumbling house where the family had lived was found to be crammed with almost 1500 artworks, most of which were sent to auction houses. The other contents of the building – letters, papers and ephemera – were almost all thrown out or burnt, destroying much of the evidence that might have helped us to piece together the story of these enigmatic lives. Just a few important pieces of the puzzle were rescued by art collector Iain ManPhail, whose work helped to spark a revival of interest in the Detmold twins’ life and art.^[13]

 

 

The photographs

But there was one storehouse of memories which survived entirely by chance. Shortly after Nora’s death, a neighbour of the Detmolds allowed her dustbins to be used as receptacles for some of the mountains of detritus being removed from their now empty house, and in one of the bins she spotted a wooden box that she thought might be useful. She extracted it, only to discover that it contained 42 glass plate photographic negatives which had clearly belonged to the Detmold family.^[14] These negatives were eventually acquired by Montgomery’s Old Bell Museum.

One of the photos has been identified as a portrait of Edward Detmold, seated before his easel, with palette and brushes in hand, evidently taken when he was in his twenties. There is something intriguingly staged about this photo. At first sight, it seems to be the artist at work – but the painting on the easel is already completed and framed, and the hands that hold the palette and the neatly tailored suit are conspicuously unstained by paint. It is, in this sense, more precisely a portrait of the artist striking the pose of an artist at work (Pl 4).

 

 

4 Photograph of Edward Julius Detmold, photographer unknown, c1908. Old Bell Museum, Montgomery, Detmold 2009-20-16

 

 

The rest of the photos remained as mysterious as the artists’ lives themselves. Nearly all are of landscapes or animals (see Pl 5), interspersed with just a few portrait images. None is dated or labelled, and none matches the local landscape around Montgomery. It is only in the past year that close examination of the photos has started to yield their secrets, and to shed new light on a crucial period in the Detmolds’ lives.

 

 

5 Photograph of a farmyard with cows, Old Bell Museum, Montgomery, Detmold 2009-20-5

Initial clues to the date of the photographs emerge from some of the human figures and buildings in the images. Pl 6, for example, shows the twin’s mother, Mary Agnes Detmold (1864–1954 – recognisable from similarities to a pencil portrait of her drawn by one of her sons around 1900). She is dressed in Edwardian costume and driving a governess cart – a form of transport popular from the late Victorian to the Edwardian era.

 

 

 

6 Photograph of Mary Agnes Detmold in a Governess Cart, Old Bell Museum, Montgomery, Detmold 2009-20-23

 

 

A similar date for the photos is also suggested by a picture of an old house being stripped of its thick covering of ivy. The building depicted here is Wappingthorn Manor near Steyning in Sussex: a house which was extensively remodelled and expanded in the 1920s. Comparisons of this photo with a 1913 Country Life sales advertisement for the manor indicate that the Detmold photograph was taken a little earlier, perhaps around 1910 (Pl 7 and 8; the date can be inferred particularly from the growth of the trees to the right of the house).

 

 

7 Photograph of Wappingthorn Manor, near Steyning, Old Bell Museum, Montgomery, Detmold 2009-20-4)

 

 

 

8 Photograph of Wappingthorn Manor, near Steyning, from Country Life (supplement), 14 June 1913, p lviii

 

 

Another building photographed by the Detmolds is Parham House, also near Steyning. As art critic Campbell Dodgson noted, it was at Parham that Edward Detmold created an intricate image of an oak tree, which he etched direct from nature in 1904 (Pl 9, Pl 10).^[15]

 

 

9 Photograph of Parham House, Sussex, Old Bell Museum, Montgomery, Detmold 2009-20-18)

 

 

 

10 Study of an Oak Tree, Edward Julius Detmold, etching on zinc (etched from nature in Parham), 1904, 280 x 200 cm.  MacPhail, Catalogue Raisonné, no. 66

 

 

With these pieces of the jigsaw puzzle in place, a larger picture begins to emerge. In the 1890s and 1910s, the Detmold twins, their mother, and her foster-parents – homeopathist and art collector Edward Barton Shuldham and his wife Elizabeth – lived together in London, but they also spent extended periods of time in the Sussex countryside. Previous research on the Detmolds had suggested that their Sussex retreat was in the village of Ditchling – known for its early-20th-century community of artists^[16] – but archival records show that, at least from 1907 until after the outbreak of the First World War, Mary Detmold was in fact the registered ratepayer of a house in the countryside close to Steyning, a small town about 20 miles to the southwest of Ditchling.

Her house, which stood on a plot of land straddling the road between Steyning and Ashurst, was known by the alternative names of ‘The Cottage, Horsebridge Common’ or ‘Huddlestone Bungalow’.^[17] (In the Edwardian era, ‘bungalow’, did not refer to a one-story suburban house, but rather to arts-and-craft style cottages built by middle-class town-dwellers seeking a foothold in the countryside.)^[18] The Detmold family continued to use their Steyning country retreat until the early 1920s.^[19]

With a few exceptions (such as one smog-filled image of central London, taken from the dome of St Paul’s Cathedral), the photos in the Detmold collection are images of their life in Sussex, and they offer us a window into the world that the twin artists knew and loved. The photographs span the first decade or more of the 20th century: the period marked by the tragedy of Maurice Detmold’s death. Yet the pictures captured by the camera’s lens are mostly tranquil and luminous. Only in a couple of them do we catch a glimpse of the shadows that haunt the rural idyll. As well as being a wonderful record of Sussex life at the start of the 20th century, they provide an insight into the countryside as seen through the eyes of an artist with a passion for the natural world.

 

 

11 Photograph of the landscape of rural Sussex, with Chanctonbury Ring, near Steyning, in the background.
Old Bell Museum, Montgomery, Detmold 2009-20-14

 

 

The photographer and his world

We cannot be entirely certain who took the photographs. The twins’ father, Edward Detmold senior (1857–1938) had worked briefly as a professional photographer in the 1890s, but because of financial and family problems he was absent from their lives throughout most of their childhood and early adulthood.^[20] What evidence we have points to Edward Julius Detmold as the creator of some, perhaps most, of the photos. We know from his correspondence with the publisher J. M. Dent that he took photographs in Sussex^[21], and one image in the collection was clearly used as source material for his work as an illustrator.

Even more than his twin Maurice, Edward Julius Detmold loved to observe and depict animals, but was much less comfortable drawing the human form. The few human beings who appear in his early art are often a little stiff and awkward, or are sketched as tiny figures dwarfed by a great surrounding landscape. Among his first solo illustration projects was a set of watercolours to accompany Camille Lemonnier’s short-story collection Bird and Beasts, published in 1911, and for this he needed to produce a picture of some poor and ragged children who befriend a lost dog. He found his model in a group of children whom he photographed on a walk along a dusty country lane. In the image that he captured (now a little damaged by age), the three rather bedraggled children look with obvious reluctance at the stranger lurking behind his cumbersome photographic gear. It is a striking, slightly disturbing image, but one which provided the material Edward Detmold needed for his portrayal of Lemonnier’s mournful waifs (Pl 12, Pl 13). The relationship between photographer and subject seems a little closer in the photos where the human beings are accompanied by the animals, with the prized cows or horses providing central theme of the image (see Pl 14)

 

 

12 Photograph of children on a country lane, Old Bell Museum, Montgomery, Detmold 2009-20-8

 

 

 

13 A lost dog, Edward Julius Detmold, illustration for Camille Lemonnier, Birds and Beasts, London 1911

.

 

 

14 Photograph of an unnamed farmer with his bull, Old Bell Museum, Montgomery, Detmold-2009-20-2

 

 

The photos in the collection reflect a love, not only of animals, but also of oriental art: another powerful influence on the Detmold twins’ lives. Their foster-grandfather, Edward Shuldham, was a noted collector of Chinese porcelain and Japanese prints, and his taste had a profound impact on the twins’ artistic style. Given the available contextual information, we can be confident that two of the photos in the Old Bell collection depict Mary Detmold’s country cottage on the outskirts of Steyning: one (taken from the rear, Plate 15) when the building was in under construction, and another (taken from the front some time later, Plate 16) showing the house its finished form. It is a classic example of the Arts-and-Crafts ‘bungalow’ style. There are also two interior shots of a dining room (whose windows match those in the exterior shots of the cottage), and a bedroom and study, probably the room occupied by Edward Detmold (Plate 17, Pl 18).

 

 

15 Photograph of the Detmolds’ cottage under construction, seen from the rear.
Old Bell Museum, Montgomery, Detmold 2009-20-19

 

 

 

16 Photograph of the Detmolds’ cottage, seen from the front (the woman in the doorway is probably Nora Detmold).
Old Bell Museum, Montgomery, Detmold 2009-20-22

 

 

Both of the interior shots show an exuberant display of Japanese and Chinese screens, fans, vases and plates. The decorated folding screen with cherry blossom and flying ducks and the framed ōgi-e (fan-shaped painting) in the dining room are characteristic of late Victorian enthusiasm for Japonisme. Edward Detmold himself was later to paint his own ōgi-e: a delicate fan shaped design of colourful wrens amongst blossom.^[22] In the study-bedroom we can see an artist’s leather-covered sketchbook on the desk, and paintbrushes carefully laid out on hooks above. The walls over the mantle shelf are densely decorated with family pictures and with oriental curios. At the centre of this array of prized possessions is an etching entitled ‘Amitié’ – Friendship – which the twins had created together as a Christmas gift for members of their family circle in 1902.

 

 

17 The Detmolds’ cottage dining-room (Courtesy of the Old Bell Museum, Montgomery, Detmold 2009-20-38)

 

 

 

18 Photograph of the study bedroom, Old Bell Museum, Montgomery, Detmold 2009-20-6

 

 

Oriental ornaments also reappear in three carefully arranged still life images included in the Detmold photo collection. From the late 1920s, Edward Detmold began to produce a series of floral still lives, encouraged perhaps by the work of his friend Sydney Laurence Biddle, almost all of whose work featured flower arrangements in Chinese or Japanese vases; but these still life photographs seem to predate Detmold’s flower paintings by a decade or more, and were perhaps taken mainly as exercises in the art of photography itself (see Pl 19).

 

 

19 Still-life photograph. Courtesy of the Old Bell Museum, Montgomery, Detmold 2009-20-35

 

 

 

The weeping woman and the snake charmer

In addition to the rather staged portrait of Edward Detmold at his easel, the collection contains two other arresting and puzzling portrait photos. In both of these pictures, the subject strikes a dramatic pose, as though taking part in some kind of private theatrics. One photo is of a woman in an Edwardian lace dress with a long string of pearls around her neck. She is photographed against the background of a makeshift screen and a bundle of dried and withered flowers, and her face is completely invisible, buried in her hands in a gesture which would not look out of place in a Victorian melodrama (Pl 20). Her wavy dark hair resembles the hair of the woman outside the cottage in Pl 16, and of the woman in a lace dress whose photo stands in centre of the lower mantle-shelf in Pl 18. Since there are no clearly attributed photos or portrait paintings of Nora Detmold, we cannot be certain that she is the ‘weeping woman’ in this photo, but the similarities in the three images make it most likely that this is Nora, who was one year older than her twin brothers.

 

 

20 ‘Weeping Woman’ photograph, Old Bell Museum, Montgomery, Detmold 2009-20-22

 

 

The third of the portrait photos shows a man dressed in a dhoti and turban, posing as an Indian snake charmer, with a sinuous serpent (or realistic replica of a serpent) wrapped around one arm. Beside his naked feet are a glazed vase and the skull of a sheep. This could almost be a model posing for one of the Detmolds’ illustrations to Kipling’s Jungle Book, but neither these, nor the further set of illustrations which Edward Detmold completed for The Second Jungle Book, contains anything that matches this image. The man in the photo has some resemblance to Edward Detmold – he is apparently about the same age and sports a similar moustache – but he is clearly a different person (Pl 17).

 

 

21 ‘Snake Charmer’ photograph, Old Bell Museum, Montgomery, Detmold 2009-20-39

 

 

As critics have noted, the Detmold twins’ love of nature was never sentimental: images of life and death, predator and prey make an appearance even in their very early works.^[23] One of Maurice Detmold’s first exhibited works was a watercolour painted when he was 12 or 13 and entitled From My Collection. It showed trophies including the carapaces of a crab and a lobster, and a snake preserved in a bottle. A critic described it ‘ghastly, but clever’.^[24] In the same year, Maurice painted a work entitled Memento Mori, depicting a human skull resting on a table beside an open book and a violin.^[25] Edward Detmold’s work, too, often includes references to death. Among his early etchings is an 1899 image of a ram’s skull,^[26] and two of his Jungle Book illustrations include birds of prey who seem to represent Kipling’s Rann the Kite – who keeps watch over the jungle ‘waiting for things to die’.^[27] The same rather macabre fascination with the presence of death in the midst of life is clearly evident in this dramatically posed photo.

 

 

Light and shadow

Since one of the portrait photos is of Edward Detmold, and another is probably of Nora, is the ‘snake charmer’ Maurice Detmold? If this strange photograph is of Maurice, it must have been taken not long before his death in April 1908: he was 24 when he died, and the man in the photo cannot be much younger than that. In their mid-teens, Maurice and Edward drew pencil portraits of one another (now held in the National Portrait Gallery), but it is impossible to see any definitive resemblance between the youth in the drawing of Maurice and the dhoti-clad young man in the photograph. Yet, if this is not Maurice, who can it be? The very private Detmold household rarely admitted outsiders to their midst^[28], and the oddness of this image makes it seem very much like a part of a family game. Looking at this photograph, we are left only with unresolved questions as to the clues that it might offer to the Detmold twins’ lives and to Maurice’s untimely death.

Paradoxically, then, these photos resolve some of the enigmas surrounding the Detmolds’ lives, but leave us with new mysteries. Like the Detmold twins’ art, the photos are full of light and shadow, reflecting their creator’s delight at the world around and awareness of the fragility of life. The photographic images offer an intimate insight into the rural world where the Detmold twins – like other artists of their generation – sought inspiration, and into the Chinoiserie and Japonaiserie that surrounded them during a formative phase of their artistic lives. The serendipitous survival of these photos opens a small doorway into intriguing lives that previously seemed closed to scrutiny, and may lead the way to further reassessments and a deeper understanding of the Detmold twins’ life and art in the context of their times.

 

 

 

 

1. With many thanks to the Old Bell Museum, Montgomery, for permission to use the Detmold photos held in their collection, and to Iain MacPhail for permission to reproduce the Detmold paintings and etchings used as illustrations to this article.Nicholas Alfrey and Richard Verdi, Charles Maurice (1883‒1908) and Edward Julius (1883‒1957) Detmold: A Centenary Exhibition, exh cat., Heslington Hall, York, 17 October–21 November 1983; University Art Gallery, Nottingham, 25 November–17 December 1983; and Natural History Museum, London, 6 January–4 February 1984 (=Alfrey and Verdi), p5. ↑
2. Roger Staton, ‘Notes on the Detmold Twins’ Family Background’, in Iain MacPhail, The Catalogue Raisonné of the Prints of the Detmold Twins: Charles Maurice, 1883‒1908, Edward Julius, 1883‒1957, London 2023, pp115–16. ↑
3. Maurice and Edward Detmold, Pictures from Birdland, London 1899. ↑
4. Rudyard Kipling, The Jungle Book, London 1908; on the twins’ etchings, see MacPhail, Catalogue Raisonné. ↑
5. Letter from Edward Burne-Jones, quoted in Neil Gibson, ‘The Detmold Twins’, unpublished documentary film treatment, nd, p7, typescript held in the Old Bell Museum, Montgomery (=Gibson); see also Iain MacPhail, ‘The Detmold Twins: Charles Maurice (1883‒1908) and Edward Julius (1883‒1957), The Book Collector, vol 73, no. 3 (Autumn 2024) pp481‒93. ↑
6. ‘Etchers’, Pall Mall Gazette, 27 February 1905, p3; see also Iain MacPhail, Catalogue Raisonné. ↑
7. See ‘Inquests’, The Times, 14 April 1908, p10; ‘Young Artist’s Suicide’, The Daily Telegraph, 14 April 1908, p5, ‘Artist’s Suicide’, Weekly Dispatch, 19 April 1908, p3, ‘Old at Twenty-Five: Successful Artist, Tires of Life, Takes Chloroform’, Lloyds Weekly News, 19 April 1908, p6. ↑
8. ‘Conscripts in Court: Conscientious Objectors Charged’, The People, 14 May 1916, p7; ‘Moral Grounds Overruled: Magistrate’s Short Way with Conscientious Objectors’, The Globe, 13 May 1916, evening edn p1; ‘Record Details for E J Detmold, Middlesex Regiment’, in Forces War Records (UK), https://www.fold3.com/image/537912587/piece-071-register-of-charges-home-and-abroad-1916-1917-page-181-uk-courts-martial-registers-1806-19?xid=6797 (accessed 7 July 2023). ↑
9. Edward Julius Detmold, Life, London 1921; Edward Julius Detmold, Selflessness, London 1922 (published anonymously); and Edward Julius Detmold, Selflessness, Greater Things, and A Greater Than Things, London 1923 (published anonymously). ↑
10. Edward Julius Detmold ‘The Truth, or What I Have Seen, 1933’, unpublished collection of 19 paintings in various media with attached text (private collection); see also Tessa Morris-Suzuki, ‘The Lost Years of Edward Julius Detmold: Art, Nature and War’, The Burlington Magazine, CLXVII (July 2022), pp672‒81, and Tessa Morris-Suzuki, Nature, War and the Art of the Detmold Twins, London 2026, pp165‒171. ↑
11. Iain MacPhail, ‘The Art of Edward Julius Detmold’, Folio (Autumn 1994), pp17‒24, citation from p23; see also Ann Welton and John Welton, The Story of Montgomery, Logaston, Herts 2003, p22; MacPhail, ‘Detmold Twins’, particularly p489; and Gibson, pp7–8. ↑
12. ‘Artist Was Going Blind – Shot Himself’, Montgomeryshire Express and Radnor Times, 6 July 1957, p3; also, typescript of a report on the inquest written for the County Times, 6 July 1957, copy held in the Old Bell Museum, Montgomery. ↑
13. MacPhail, ‘Detmold Twins’, particularly pp490, 493; also, pers comm, Philip Humphreys, Montgomery, 3 July 2025. ↑
14. Gibson, p10; the exposure of some of the photos reproduced here has been adjusted to enhance clarity. ↑
15. See Campbell Dodgson, ‘Maurice and Edward Detmold’, The Print Collector’s Quarterly, vol 9 (1922), pp373‒405, citation from p402. ↑
16. Campbell Dodgson, revd Chantal Serhan, ‘Detmold, (Charles) Maurice, (1883–1908)’, in HCG Matthew and Brian Harrison eds, The Oxford Dictionary of National Biography, vol 15, Oxford 2004, pp924‒25. ↑
17. See the details given for the twin’s mother, Mary Agnes Detmold, in the East Sussex Electoral Register, Mid or Lewes Parliamentary Division, Steyning Parliamentary Polling District, 1907, 1908, 1909, 1910, 1911, 1912, 1913, 1914 and 1915; also ‘From Gaol to Dock: Housebreaking at Steyning’, Southern Weekly News, 30 April 1910, p1. ↑
18. See, for example, ‘The Bungalow Style’, The Decorator and Furnisher (October 1894), pp5‒7. ↑
19. See the 1921 census of England, entry for The Cottage, Horsebridge Common, and also letters sent by Edward Julius Detmold from the cottage to the publisher J. M. Dent in the early 1920s, in M. Dent and Sons Records, subseries 1.1, Folder 483 (Detmold, Edward Julius), Wilson Special Collections Library, University of North Carolina / Duke Special Collection Libraries (= Dent/Detmold letters). ↑
20. For further details, see Tessa Morris-Suzuki, Nature, War and the Art of the Detmold Twins: Orientalist Dreams, Modernity’s Nightmares, London and New York 2026, (forthcoming) chs 2–3. ↑
21. See letter from JM Dent to EJ Detmold, 13 May 1924, Dent/ Detmold records. ↑
22. See Rodney Engen, The Age of Enchantment: Beardsley, Dulac and their Contemporaries, exh cat., Dulwich Picture Gallery, London, 28 November 2007–17 February 2008, p114. ↑
23. See, for example, Alfrey and Verdi, p10. ↑
24. See ‘Royal Institute of Painters in Water-Colours’, London Evening Standard, 15 March 1897, p3. ↑
25. This painting was sold at auction in New York by Doyle Auctioneers and Appraisers, 8 February 2012. ↑
26. See MacPhail, Catalogue Raisonné, no. 58. ↑
27. Kipling, Jungle Book, p67. ↑
28. See, for example, WD Scull, unpublished note on the Detmold brothers, c1908, in the Alfred Yockney Collection, Tate Archive, GB 70 TGA 724. ↑