472 
THE AMERICAN-SCANDINAVIAN REVIEW 
Norwegian blood to Norway and 
erected in Christiania. A bust of Ed¬ 
ward Grieg, the Norwegian composer, 
also belongs to Paul Fjelde’s later pro¬ 
ductions, as does the somewhat conven¬ 
tional Pioneers’ Memorial tablet in 
Council Bluffs, Iowa. Still more re¬ 
cent is the medal presented by the vil¬ 
lage of Glencoe, near Chicago, to its 
service men in the war, a fine specimen 
of metallic art. 
He has also finished two other me¬ 
morial tablets, one for the Reynolds 
Club at the University of Chicago, the 
other placed in the University Club at 
Peoria, Illinois. A medal of award for 
the Society of Allied Arts of the latter 
city, and some small ideal heads also 
figure among his later productions. 
During the last few years Paul Fjelde has spent considerable 
time in New York City, diligently cultivating the greater opportu¬ 
nities to perfect himself for his chosen life work. He is now per¬ 
manently located there and has a studio of his own from which, in 
due season, American art may count upon receiving new impulses 
and fresh inspiration. 
Before closing this little tribute to Jacob Fjelde and his son, 
I should like to give honorable mention to two other members of this 
family, Pauline, one of Jacob’s sisters, and Herman, a younger 
brother. In Pauline Fjelde’s hands embroidery has become an art. 
A student of Norwegian art-weaving and French gobelin tapestry, 
she has produced several large fabrics, one of which won the Rosen- 
wald Prize at the Chicago Art Institute. In her cozy little bungalow 
on the outskirts of Minneapolis, filled with choice paintings by Norwe¬ 
gian masters and specimens of her brother’s art, Miss Pauline for 
some time has been at work upon an ambitious undertaking, a gobelin 
tapestry sketched by the Danish artist Bramdekilde after her own 
design, and telling in colors the story of Hiawatha’s coming to take 
his bride home to his wigwam. 
The late Dr. Herman O. Fjelde, for many years a practising 
physician in North Dakota, became a patron and inspirer of sculp¬ 
tural art in that state. As witness stand the bronze likenesses of Ivar 
Aasen, Hans Nielsen Hauge, and Henrik Wergeland, the fruit of his 
untiring initiative in organizing art committees and raising funds for 
these symbolic expressions of appreciation, by the Norwegian element, 
of the cultural values of their native land. 
Paul Fjelde Sculptor 
“James” 
