Swedish name for the flower, which is snödroppe. It is a rare poetic name that historically was derived from a literal translation of the ordinary German name Schneeglöckchen (little snowbell). Thus a musical connotation was added by using it for the statue, and her right hand is close to her right ear. The Snowdrop was not only accepted at the 1881 Salon, but even received an honorable mention, which no other Swedish work achieved that year. This success meant that he suddenly was a famous artist in Sweden, where the Nationalmuseum in Stockholm soon ordered a copy in marble. It was finished in 1883 and received a gold medal at the Salon in Paris the same year. In 1885, also the Gothenburg Museum of Art had its marble copy. The Ny Carlsberg Glyptotek in Copenhagen/Denmark has one since 1889. Copies in bronze at public places are on Maria Square (Mariatorget)/Stockholm, in Falun, Ronneby, and near Sunne (Rottneros park). 1,700 pieces in parian ware (marble imitation) with a height of 50 cm and 625 pieces in 60 cm were produced in 1887-1926 by Gustavsberg porcelain. The more recent reception of the Snowdrop in Sweden in the 21st century presented a new additive in the form of certain feminist views. One author of the catalogue of the large Hasselberg retrospective in Stockholm 2010 claimed that the closed eyes of the statue were not a sign of just waking up but rather showed that Hasselberg had “forced” the “body of the young woman” into a “state of unconsciousness”. Farfadern (Father’s Father, Paris 1886) The original French name was L'Aiëul (The Grandfather) and it was first made in plaster cast 1886 in Paris and exhibited at the Palais de l'Industrie that year. The basic idea was to show nature's cycle containing the poles of young and old. It had its origin during Hasselberg's long treatment at university hospital in Gothenburg in 1885, after which he learned that he had only a few more years to live. He knew, therefore, that the planned work might be his last one and thus his artistic testament. The idea became more definitive after he had seen an old man sitting with a naked sleeping boy on his knees on a boulevard in Paris. When it was finished, his artist friends were enthusiastic about it, but the exhibition in Paris was no success. The original copies in plaster cast