There! He Called, It’s Over There! (1912 CE)

John Bauer’s illustration There! He Called, It’s Over There! ( Originally in Swedish: Där! Ropade han, där borta är det!), created in 1912, is a captivating piece that draws viewers into the magical world of Swedish folklore. This artwork, part of the children’s calendar Blue bird, depicts a pivotal moment from Einar Rosenborg’s fairy tale The Giant Who Slept for Ten Thousand Years. The illustration features the giant Skulbjörn holding a boy who points toward a city under a starry sky, rendered in Bauer’s signature muted palette of earthy tones and delicate details. This evocative scene invites curiosity about the interplay between the mythical giant and the human world.

In Einar Rosenborg’s fairy tale The Giant Who Slept for Ten Thousand Years, we follow Skulbjörn, one of five clumsy giant brothers. Born as large as a bear, Skulbjörn is struck in the head by a boulder during a playful scuffle with his brothers, falling into a deep sleep that lasts ten thousand years. Upon awakening, he finds a city built where he once slumbered, and his movements cause earthquakes, alarming the human “little folk”. Encountering a mother and her two children, recently evicted from their home, Skulbjörn is moved by their plight. He confronts the landlord responsible, restoring the family’s home. Afterward, seeking peace, Skulbjörn leaves the city, perhaps to sleep again beneath a mountain. The tale reflects themes of change, compassion, and the passage of time, set against a backdrop of Nordic folklore.

John Bauer is one of Sweden’s most celebrated illustrators and created There! He Called, It’s Over There! during the height of the National Romantic movement in Sweden. The artwork was commissioned for the 1912 edition of Blue bird – a children’s calendar, a children’s publication. The illustration accompanies Einar Rosenborg’s tale The Giant Who Slept for Ten Thousand Years, which tells of Skulbjörn, a giant who sleeps for millennia and awakens to a transformed world. Bauer, trained at the Royal Swedish Academy of Fine Arts, was renowned for his contributions to Among Gnomes and Trolls (1907–1915), but his work in Blue bird reflects a broader effort to make illustrated stories accessible to children, including those from less affluent families, thanks to advancements in printing technology. The early 20th century saw a surge in interest in Nordic folklore, and Bauer’s illustrations played a key role in bringing these tales to life.

Bauer’s deep connection to the Småland forests, where he grew up, profoundly influenced his depictions of mythical creatures and landscapes. It is said that Bauer often sketched in nature, drawing inspiration from the rugged terrain and dense woods to craft his fantastical scenes. For this particular illustration, the depiction of Skulbjörn—a giant described as large as a bear at birth, adorned in animal hides and beads—blends human and beastly traits, a hallmark of Bauer’s ability to humanize folklore figures. The starry sky and cityscape in the background suggest a moment in the tale when Skulbjörn encounters the modern world, adding a layer of intrigue to the narrative’s themes of time and change.

The illustration holds a significant place within the National Romantic movement, which celebrated Sweden’s cultural heritage through art and literature. Bauer’s work, including this piece, captures the essence of Nordic folklore by blending the fantastical with the familiar. The story of Skulbjörn, who awakens to a world altered by human progress, reflects themes of transformation and compassion, resonating with early 20th-century concerns about industrialization and social inequities, such as housing struggles. The image of the giant aiding a displaced family in the tale carries symbolic weight, suggesting a call for empathy and justice. Bauer’s illustrations, with their detailed and atmospheric quality, made folklore accessible to children, fostering a sense of cultural identity and wonder. This work, like others by Bauer, bridges the mythical past with the modern era, creating a timeless narrative that continues to captivate audiences.

The artwork is executed in watercolor, ink, and pencil on paper, measuring 22.5 x 21 cm (8.86 x 8.27 inches). Bauer’s technique is characterized by a muted color palette dominated by brunet-gray tones, accented with black ink and subtle blue highlights, particularly in the starry sky. The delicate interplay of light and shadow creates a dreamlike atmosphere, while the detailed rendering of Skulbjörn’s animal hides and the distant cityscape showcases Bauer’s skill in balancing realism and fantasy. The illustration is signed and dated 1912, adding to its historical authenticity. The compact dimensions reflect the practical constraints of illustrating for a children’s calendar, yet Bauer’s meticulous attention to detail ensures the piece’s emotional and visual impact.

The provenance of There! He Called, It’s Over There! traces back to its creation for the 1912 Fågel Blå publication. The illustration was recently highlighted by the Uppsala Auction Chamber, which featured it in an auction scheduled for December, 2024, indicating its continued value in the art market. While the exact ownership after this auction is not fully documented, the piece is likely to have been preserved in private collections or archives, given its association with Bauer’s celebrated oeuvre.