does not seem to be working in the right medium, for I believe his
Japanesque landscapes could be far more sympathetically presented in
watercolour. Of the group comprising his work, his "Waterfall", "Summer
Evening", and "Evening on Angermann Land" are very fascinating.
Mas-Olle's portraits are interesting not only for good technical
painting but also for fine characterization. His portrait of an old
peasant of Dalecarlia is almost faultless. Near the Mas-Olle portrait
Herman Lindquist has a "Sunny April Day" of unusual poetic claim.
Schultzberg's big sunlit winter scenes hardly need recommendation to
justify their increasing popularity. Alfred Bergstrom's poetic
landscapes add more interest, in the small adjoining room on the east.
Marine pictures by Hullgren are the only contributions in that field,
but quite sufficient to maintain the general standard of excellence. The
drunken man seated at a café table is psychologically interesting. As an
object lesson to discourage the consumption of liquor it is the most
effective picture I have ever seen, and certain interests would do well
to buy it for that reason alone, not to speak of the relief this would
afford. Ernst Küsel's animal pictures, opposite John Bauer's delightful
group, seem quite out of place. His ducks and the goats are satisfactory
enough, but I wish he had to live with that calf picture and see it
every day. Küsel is undoubtedly humourously inclined, without knowing
proper limitations.

The sculpture of the Swedes is of the same unusual excellence that
commands so much respect in their other work. Edstrom easily outranks
his fellow-artists in his group of naturalistic and conventional
architectural heads, in the Liljefors gallery, while in the long and
narrow adjoining gallery a multitude of excellent etchings, drawings,
and black and white work compel mention. They hardly need any
explanation, since in their very character they readily convey their