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SCULPTURE.
419
in Börne, where his chief work was »A Faun
playing with his younger brother». In Sweden,
he was at work for many .years at the
memorial statue of Carl von Linné (unveiled in
1885), besides which he modeled several
portrait medaillons and busts; further, A.
Carlton (1846/78) — a disciple of Molin — who
in Gothenburg achieved a large frieze,
»Baldera-brenna>, in which the ancient Scandinavian world
of gods was represented, but, perhaps, more
known still for his bronze Väse with dancing
bacchants, exhibited in Paris 1878; then, also
in the town of Gothenburg, I. Fallstedt
(1848/99), who with signal success mostly
devoted himself to portrait sculpture and,
moreover, made a statue of John Ericsson; and
— last but not least — P. Hasselberg (1860/
94), one of the foremost, who studied in Paris
and exhibited his first statue, »Le charme», in
1880, but was made famous by his second
work, The Snowdrop (1881), and has since,
again and again, been glorifying woman as
»a symbol for the life of nature»: in »La
gre-nouille» (1890), The Waterlily (1893), etc. One
of his celebrated works is The Grandfather (in
the park of Humlegården, Stockholm), besides
which he has sculptured several portrait busts
distinguishing themselves for the pronounced
characteristic they present.
Also a couple of medal engravers belong
to the deceased in the latter part of the 19 th
century. One of them is J. E. Ericsson
(1836/71), who studied his art with Conradsen
in Copenhagen and then made good medals as
well as small, pretty sculptures, statuettes, and
groups. The other one was Mrs. Lea Ahlborn
(1826/97), who revived medalurgy, that, since
the time of Ljungberger, was somewhat deteriorated. Though a woman, she,
however, enjoyed the distinction of being designated to the rather important
function of engraver at the Royal Mint after her father, L. Lundgren.
Among sculptors now living ought to be named foremost J. Börjeson (born
1835). After having tried his fortune in various departments of life, amongst
which as a dramatic singer, he studied sculpture, first at the Academy of
Stockholm, then, for a length of time, in Rome and Paris, and began his independent
activity, partly with works of imagination, partly with genre figures (e. g., Capri
Boy, Passetemps) and, with his stately sketch for the Sten Sture Memorial, pointed
out the specific art which was going to be the chief object of his future activity —
the monumental statue. In 1881, he began with the Holberg statue in Bergen
(Norway), followed by the Geijer monument (with »The Thought») in Uppsala
(1888), Axel Oxenstierna (1890), Scheele (1892), and Nils Ericson (1893) —
all in Stockholm. Then came the colossal equestrian statue of Charles X Gustavus
in Malmö (1896), Charles XI in Karlskrona (1897), another enormous equestrian
statue, of Magnus Stenbock in Helsingborg (1901), and the John Ericsson
monument in Stockholm (the same year) — the only one to which serious objec-
The Snowdrop.
By P. Hasselderg.
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