Among Gnomes and Trolls

Lore & Background

The first four volumes were illustrated by John Bauer and others. Volume 5 (1911) was illustrated by Norwegian illustrator Louis Moe, after which Bauer resumed illustrating from 1912 to 1915 (volumes 6-9). 1916 had no issue, but the series continued in 1917, illustrated by Gustaf Tenggren and Aina Masolle, who was the series' first woman illustrator. From 1918 to 1926 Gustaf Tenggren was a key illustrator, but not the sole illustrator; other artists such as Einar Norelius contributed in 1925 and 1926. From 1927 onward, Einar Norelius was a notable illustrator, but not the sole or chief illustrator; other illustrators also contributed. Hans Arnold's first volume was 1981.

Reader's Guide

Among Gnomes and Trolls has been a significant annual in Swedish children's literature since 1907, featuring tales and illustrations from many prominent Swedish authors and artists. One of its most noted pictures is John Bauer's 1913 illustration 'Ännu sitter Tuvstarr kvar och ser ner i vattnet' ('Still, Tuvstarr sits and gazes down into the water'). Several books with extracts from the original volumes illustrated by John Bauer have been published, the first in 1931 to raise money for a memorial honouring Bauer. Many of the tales and illustrations also appeared in An Illustrated Treasury of Swedish Folk Tales and Fairy Tales.

Did You Know?

• Aina Masolle was the series' first woman illustrator, contributing to the 1917 volume.
• One of the most noted pictures from the annual is John Bauer's 1913 illustration 'Still, Tuvstarr sits and gazes down into the water'.
• The first book of extracts from the original volumes was published in 1931 to raise money for a memorial honouring Bauer.

Foundations: The First Decade (1907–1915)

Among Gnomes and Trolls, known in Swedish as Bland tomtar och troll, launched in 1907 as an annual anthology of Swedish folklore and fairy tales aimed at young readers. The first four volumes were illustrated by John Bauer, whose work established the series' distinctive visual identity. The 1911 edition broke from Bauer's hand, instead featuring Norwegian illustrator Louis Moe. Bauer returned for volumes six through nine, covering 1912 to 1915. The series experienced a single gap year in 1916 before resuming in 1917, when Gustaf Tenggren and Aina Masolle—marking the first time a woman illustrated the anthology—took on the visual work. The early tales drew on a diverse cast of Swedish writers, including Helena Nyblom, Anna Wahlenberg, Alfred Smedberg, and Vilhälm Nordin, whose stories ranged from enchanted forests and flying trolls to gnome boys and swan maidens. This foundational period set the template for everything that followed.

A Century of Illustrators and Bauer's Enduring Image

The visual identity of the anthology passed through several distinctive hands over its long run. After John Bauer's initial four volumes and his return for 1912–1915, Norwegian artist Louis Moe handled the 1911 edition. Gustaf Tenggren then served as sole illustrator from 1918 through 1926, following his 1917 collaboration with Aina Masolle. Einar Norelius held the chief illustrator role for an extraordinary span from 1927 to 1980, a tenure exceeding five decades. Hans Arnold succeeded Norelius and illustrated the 1990–1993 and 1995 volumes. Bauer's influence endured well beyond his lifetime: a collection of extracts from his original volumes was published in 1931 specifically to raise funds for a memorial honoring him. One of his most celebrated images comes from the 1913 volume, depicting the little princess Tuvstarr gazing down into the water—a scene that has become synonymous with the series' magical atmosphere.

A Roster of Swedish Literary Voices

The anthology has served as a showcase for some of Sweden's most respected literary voices across more than a century. Early contributors included Helena Nyblom, who authored tales spanning multiple volumes from 1907 through 1914, alongside Anna Wahlenberg, Alfred Smedberg, and Vilhälm Nordin, whose stories populated the first decade with tales of trolls, gnomes, enchanted forests, and swan maidens. Later volumes brought in authors of national stature such as Hjalmar Bergman, Margareta Ekström, and Edith Unnerstad. Hugo Hamilton contributed multiple pieces in the early 1990s, while Irmelin Sandman Lilius and Marie Hermanson appeared repeatedly across those same years. The series also incorporated translated folk tales from beyond Sweden's borders, including a South Indian story about a jackal and a crocodile in 1992 and a Russian tale of a small humped horse in 1995, broadening the anthology's cultural reach well past its domestic origins.

Unbroken Lineage and Evolving Scope

Few children's publications can claim the unbroken lineage of this Swedish annual, which has been published since 1907 and continues to this day. The series survived a single gap in 1916, resuming the following year, and has maintained its annual rhythm through changing literary tastes and publishing landscapes. The roster of contributors has evolved dramatically: the early 1900s featured writers like Gurli Hertzman-Ericson, Sophie Linge, and Ester Edquist, while the 1990s volumes introduced voices such as Britt G. Hallqvist, Severin Schöler, and Felix Körling. The content itself has broadened considerably; alongside original Swedish fairy tales, later editions incorporated folk tales from South India and Russia, as well as translations by Ingegärd Martinell and Brita av Geijerstam. This blend of homegrown folklore and international storytelling, combined with the continuity of the series' mission as a children's anthology, has allowed it to remain a living cultural institution spanning over a century of Swedish literary life.