When Anders Zorn passes away, he does so as one of Sweden's foremost artists of all time. Whatever medium he embraced, he did so with a rarely seen skill and elegance, seemingly uncomplicated and spontaneous, yet often carefully studied and prepared. Likewise, he moved effortlessly between the aristocracy and the common folk, both clothed and buttoned-up as well as naked and free.

From a young age, Anders Zorn was drawn to the world beyond his homeland and undertook many journeys to various exciting places. His remarkably skilled technique as a watercolourist garnered international attention, not least through portraits and genre scenes exhibited at shows across Europe. Zorn's breakthrough came during his travels in London and Paris, where he adapted to an international audience and developed his characteristic painting style. During this period, he increasingly turned to oil, which allowed him greater opportunities to explore light, skin tones, and reflections – particularly in his famous bathing motifs. His artistic talent was exceptional, and regardless of the medium – from early watercolours to meticulously crafted bronze sculptures and powerful oil paintings – his works are marked by an impressive quality and great technical skill. Despite international influences and successes, he always held his homeland in Dalarna in high regard. Mora remained the obvious place for celebrations such as Christmas and Midsummer, and it was in the simple everyday life that he felt most at home. After nearly ten years with Paris as a base, Anders and his wife Emma chose to return to Sweden in the summer of 1896 and settle in Mora, where the artist deepened his interest in the Swedish landscape and rural life. Here, he developed a more nationally oriented subject matter, depicting the common folk, traditions, and nature, often in the form of naked or semi-naked figures in open-air settings.

In 1904, Zorn purchased land by the Österdal River, a few miles outside Mora, with the aim of living a life reminiscent of earlier generations – simple and close to nature. To the site, Gopsmor, he moved several buildings from the area and used it as a retreat where he would travel a couple of times a year. There, he could work undisturbed and immerse himself in his artistry without external distractions. The secluded environment provided space for concentration and creative joy, and several of his most significant works were created there. The dual residence was not unfamiliar to Zorn, who was already well acquainted with the pastoral culture of the common folk. Life there was simpler, perceived by some as perhaps too primitive, as it is described how Erik Axel Karlfeldt, during a visit, felt embarrassed by the simplicity.

Alongside his great artistic career, Anders Zorn became one of the country's major cultural promoters. Above all, he strove for the historical preservation of, among other things, the culture of the common folk. In Gopsmor, Zorn and his household engaged in traditional activities and enjoyed dance games indoors, while in winter, skiing was a frequent pastime. Several of Zorn's most beloved motifs were created in Gopsmor, where "I Eldhuset", "Improviserat bad" and "Dans i Gopsmorstuga" can be mentioned as examples. The models who accompanied him to Gopsmor often participated in household chores, and it is in the depictions of these everyday moments that his art reaches a particular intensity and expressiveness. His Henrik Brummer describes Zorn's images from Gopsmor as "the sensualism of an unpretentious way of life. That he [Zorn] depicted an Arcadian realm of happiness was entirely in line with his artistic programme."

Frans Estenberg, who took care of Gopsmor Cottage for Zorn, wrote in his diary entries in January 1907 that "Zorn is painting Kesti carrying water," referring to the auction's painting "Hämta vatten" ("The Water Pails"). Kesti was none other than Hållams-Kesti, who was among Zorn's favourite models. The beautiful girl Hållams-Kesti also modelled for Zorn in "En flykting", where he initially envisioned two girls skiing in the snowy landscape. However, he changed his mind and removed one girl, and Hållams-Kesti was transformed into none other than king Gustav Vasa, among other things by the addition of the characteristic beard! Among the winter paintings from early 1907, such as "Moraflicka på skidor", "Rättvikskulla i snö" and "En flykting", "Hämta vatten" ranks among the very finest. Hållams-Kesti is depicted in the beautiful winter attire of Mora girls, where the red hairband revealed to those interested that the woman was still unmarried. In the background, the long skis are visible – a necessity for winter travel to Gopsmor and also a popular recreational activity – as well as another industrious girl busy bringing firewood into the cottage. Regarding the painting "Hämta vatten", Tor Hedberg wrote that "the colour scheme here is more melting, with the ivory-yellow skin coat so exquisitely set against the white snow and the brown timber. Zorn's lovingly painted furs could deserve a chapter of their own; one can see how he enjoyed their ancient patina."

With his characteristic virtuosity in brushwork and an outstanding sense of light and movement, Zorn transforms this simple act into a poetic moment, charged with presence and intimacy.

The painting's first owner, consul Erik Brodin, was a good friend of the artist, and in his extensive art collection were some of the artist's very finest works in private hands, such as "Kaikroddare," "Väninnor," "Reflexer," "Söndagsmorgon," to name just a few, as well as the exquisite "Hämta vatten" from the auction.