Anders Zorn Swedish 1860-1920

Sale: Stockholms Auktionsverk, Stockholm, 3-5 December 2003, lot 2453
Purchased at the above sale by the present owner

Gerda Boëthius, Zorn, Stockholm, 1949, p. 483-4, discussed; p. 553, catalogued
Birgitta Sandström, Skulptören Anders Zorn, Mora, 1999, pp. 106-8; pp. 105-6; pp. 7-9

There is overall surface dirt to the patina with dark green patches of verdigris in the crevices and to the head on the right side, with some faint streaking down the right breast and stomach. This may suggest it was displayed outside for a short period of time. This patina would benefit from a surface clean. Overall the condition is very good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Better known for his paintings, it was in fact sculpture that originally fascinated Anders Zorn, so much so that he applied to the Royal Academy of Arts in Stockholm first and foremost to be a sculptor. He retained this passion throughout his life, and in a number of his self-portraits painted himself as a sculptor.

Only three known copies of Fountain Figure II exist: aside from the present work, one is in the Zornsamlingarna in Mora and one was given as a gift to the artist's close friend Carl Larsson in 1912.

On receiving the sculpture, Carl Larsson wrote: 'My life as an artist is now wronged: I can do nothing, I have no desire to create, I am completely crushed by the beautiful bronze girl you made and gave me! I just keep walking around her, stroking her. I detest my own work - I say to hell with it! What luck that I believe in the theory of re-incarnation. In my next life I shall be born as an Anders Zorn.'

Carl Larsson painted a self portrait in front of the bronze girl shortly after receiving the gift and then placed it in the so called 'holy corner' at Larsson's home where it has since remained.