The Trolls From Domberget Awaiting Strangers (1907 CE)

The Trolls of Domberget Awaiting Strangers, a watercolor painting by Swedish artist John Bauer, draws viewers into the enchanting realm of Nordic folklore. The artwork portrays two trolls perched atop a rocky outcrop, intently gazing and listening over a sprawling forest at twilight. Crafted with delicate touches of gouache, ink, and pencil, the scene’s muted earth tones create a haunting yet captivating atmosphere. Created for the Christmas magazine Julbocken, this illustration offers a window into the mystical interplay of nature and supernatural beings.

In the twilight shadows of Domberget, a rugged mountain deep in the Swedish forest, two trolls stood sentinel atop a rocky ledge. Their sharp eyes pierced the dimness, and their ears strained for the faintest sound of approaching outsiders. The forest below, cloaked in earthy hues, whispered secrets of the wild, while three stars glimmered faintly in the beige sky. For generations, Domberget had been the trolls’ sanctuary, hidden from human eyes. But whispers among the troll kin spoke of bold wanderers—strangers from the human world—drawing near their sacred ground. Curious yet wary, the trolls waited, their hearts heavy with the weight of the unknown. Were these outsiders lost souls seeking shelter, or intruders with darker motives? As night deepened, the crunch of footsteps echoed through the trees. The trolls froze, exchanging a glance of silent agreement. Whoever these strangers were, their arrival would spark a moment of truth for Domberget—a clash or communion between the human world and the realm of myth.

Painted in 1907, The Trolls of Domberget Awaiting Strangers emerged during John Bauer’s prolific early career, a period when he became celebrated for his illustrations in Julbocken and later Bland tomtar och troll. The artwork accompanied a fairy tale by Cyrus Granér, published in Julbocken in 1907. Born in 1882, Bauer drew inspiration from the Romantic revival of Nordic mythology and Sweden’s natural landscapes, infusing his works with a sense of wonder. The piece reflects the early 20th-century cultural movement to preserve Sweden’s mythical heritage amid rapid modernization. Its international recognition was evident when a replica was displayed at the Esposizione Internazionale d’Arte in Rome in 1911, cementing Bauer’s growing reputation.

Inscribed on the back in pencil is the title “Troll som vänta främmande” (Trolls awaiting strangers), along with Bauer’s signature in a different hand and the name “Harriet,” possibly indicating a former owner or dedicatee. A label from the 1911 Rome exhibition highlights the artwork’s early journey abroad, underscoring its historical significance. 

The Trolls of Domberget Awaiting Strangers holds a central place in Swedish cultural heritage, embodying the nation’s deep connection to folklore and its natural environment. Trolls, as depicted by Bauer, are iconic figures in Nordic mythology—often depicted as large, shaggy beings with long noses and tails, both menacing and cunning. The artwork captures a liminal space where the human and supernatural worlds intersect, with Domberget symbolizing a mythical boundary for such encounters. Published in Julbocken, a children’s Christmas magazine, the illustration shaped generations’ perceptions of trolls and enchanted forests, reinforcing Sweden’s storytelling tradition.

The artwork is a watercolor on paper, enriched with gouache, ink, and pencil, showcasing Bauer’s meticulous technique. Measuring approximately 25 x 35 cm (9.8 x 13.8 inches), it features muted earth tones—browns, grays, and beiges—that evoke a twilight ambiance. The forest below the trolls is rendered with rich, textured hues, while the light beige sky, adorned with three stars, adds a subtle celestial element. Bauer’s style blends fine details, such as the trolls’ expressive postures and intricate foliage, with a dreamlike quality.

The Trolls of Domberget Awaiting Strangers resides in the Jönköpings läns museum, a testament to Bauer’s enduring legacy.