A Week to remember: The Norwegian Textile Symposium in Skien

By Magnhild Peggy Jones Gilje

When I was asked to write a few words about the symposium, I started applying myself to what exactly I should focus upon. For every lecture, every craftsperson and every small business I encountered, I kept thinking that this is the talk/person/craft I will choose. It turned out the event was filled with so much of interest, so many exceptionally skilled people and so many interesting lectures that I couldn’t choose just one or even a few to focus upon. Instead, I will try to give a broad overview of what the participants enjoyed over those beautiful autumn days in Skien.

To set the scene.

Skien is a town in Telemark. It nestles on the banks of the river Skienselva and the city centre itself is located where another river, the Farleva, forms the Hjellevatnet lake. Arriving in Skien on the Friday morning, I was welcomed by clear blue skies, crisp autumnal air and an incredible show of golden autumn leaves.

The Norwegian Textile Symposium was arranged by Norges Husflidslag [The Norwegian Folk Art and Craft Association] and has taken years to plan and arrange. For many of the participants the week started with a practical course, which was booked in advance and separately from the weekend’s lectures. Here is a list of the courses and the teachers, with their Instagram handles. All well worth looking at to see some of the exceptional work done by these craftspeople.

Beadwork on bodice inserts from Hardanger – Agnete Sivertsen @agnete.sivertsen
Metal lacemaking – Anne Alette Botnevik Kolle @bunadsdamene
Telemarksbinding – Borghild Telnes @borghildtelnes
Tablet weaving – Bente Skogsaas @osebergtabletweave
Heddlecarving and weaving – Kerstin Neumüller @kerstin.neumuller
Nalbinding – Helene Henriksen @urdabrunn @husflidskonsulenten_i_mr
Drop spindle spinning – Vigdis Valde @vigdis.valde
Varafell weaving – Monika Ravnanger @osteroymuseum
Embroidery with wool – Barbro Tronhuus Storlien @frustorlien

The courses were divided into three day, two day and one day courses and were held at Telemark Museum as well as the main symposium venue, Ibsenhuset.

I opted for the drop spindle spinning with Vigdis Valde, who is passionate about all things fibre and is a highly skilled spinner. During the course we were able to try different types of drop spindles and different types of wool. Carded or combed wool from the Norwegian White Sheep (the most common crossbred type in present day farming) Spælsau (Old Norwegian Short Tail Landrace) and the breed known as Old Norwegian Sheep. The hours flew by and before I knew it, it was time to rush off and change into my bunad for the opening party at Telemark Museum.

My notebook with samples. Photo: Magnhild Peggy Jones Gilje

Opening party with Her Majesty The Queen Sonja.

The party at Telemark museum marked not only the opening of the Textile Symposium, but also the opening of a exhibition of Åkle [coverlets] from Vest Agder, curated by Kathrine Bringsdal.

A group photo of some of the symposium participants. Photo: Dag Jenssen, Telemark Museum.

Telemark museum was an excellent venue for welcoming Her Majesty The Queen to the Textile Symposium. It commenced with a screening of the film Historjá which tells the story of Britta Margareta Marakatt-Labbas’s work on the epic embroidery piece of the same name. This was followed by drinks and nibbles, folk music and a wander round the exhibition, with plenty of exciting textile elements. *

Her Majesty The Queen inspecting an Åkle. Photo: Dag Jenssen, Telemark Museum

Saturday morning started off with an open market area in the large and light foyer of Ibsenhuset and this stayed open all weekend and was open to the public. The market held a wide array of stalls, from the bigger textile companies such as Krivi and Tyrihans, to smaller businesses such as Stormdal Ull, Løvli Naturull and Dalebutikken as well as artists and artisans such as Borghild Telnes and Ann Mari Jore. The local and regional branches of The Norwegian Folk Art and Craft Association were also well represented with an exhibition of local crafts.

Will Riedlinger demonstrated metal lace work in the foyer after attending the three-day course with teacher Anne Kolle. Photo by Magnhild Peggy Jones Gilje.

The lectures on both Saturday and Sunday were varied and informative, and although I would like to give a full account of them all, a list will have to suffice. The Master of Ceremonies Kim Sølve Jackobsen (known for hunting traditional skills and crafts) guided us through the tightly packed program with endless smiles and boundless enthusiasm. (More on Kim’s work: @school_of_folk_skills )

Saturday:

Anne Bamle and the Rødtrøyebunad – Guro Nordby
From fertility symbols to status symbols – use of symbolism in textile objects. – Mikkel B. Tin
Panel debate about the safeguarding of traditional crafts, led by Ellen Krageberg.
Our textile cultural heritage – Solveig Torgersen Grinder
A landscape of threads – Borghild Telnes
Woolology and stichmagic, learning through crafts. – Vigdis Valde

Sunday:

Woven coverlets from West Agder – Kathrine Holmegård Bringsdal
Skautfelling (the folding of the Hardanger headdress) – Agnete Sivertsen
Award for “red listed” heritage. Awarded to Møre and Romsdal Folk Art and Craft Association for their work on Senger og Nordmørsåkle (woven coverlets)
DNB Savings Bank Foundation, possibilities – Tuva Løksne
Singing Stones, the Warp Weighted loom – Monika Ravnanger
Tabletwoven finds from the Oseberg excavations – Bente Skogsaas.

Knitting needles tapped gently in the audience. Photo: Magnhild Peggy Jones Gilje

Kim’s enthusiasm mirrored that of the audience–seldom if ever have I experienced a lecture theatre quite so full of skilled, knowledge-hungry craftspeople and textile enthusiasts. The gentle tapping of knitting needles and the gasps of wonder as one incredible textile was discussed after another was quite something. Importantly there was also a strong thread throughout the weekend, tying in the most important questions: how can we safeguard our textile cultural heritage and the intangible knowledge surrounding it? How do we make sure we are securing this knowledge for future generations and how do we ensure that becoming a craftsperson is a viable choice today?

The name of one of the exhibitions at Telemark Museum sums up the weekend well; ALL THIS IS YOURS. It is all this material culture, the learning the skills, the knowledge of how to use them, the work that goes into growing, farming or sourcing the materials, processing them and the significance of the individual objects.It is ours, our collective cultural heritage, and I hope we keep working hard not only to preserve it but also, and most importantly, to keep it alive and thriving.

The Queen with Agnete Sivertsen who is head of Norges Husflidslag and is wearing her Hardanger headdress. After the weekend was over Agnete said, “The Textile symposium was a wonderful weekend that gathered textile enthusiasts from around Norway.” Photo: Dag Jenssen, Telemark Museum

Greetings from Gjøvdal,
Magnhild Peggy Jones Gilje
@magnhild.peggy

*If you happen to be visiting Skien, Telemark Museum is well worth a visit. The staff are engaged and helpful and the museum enjoys hosting a variety of courses, most recently courses in rose painting and spinning. https://www.telemarkmuseum.no/en/

Magnhild Peggy Jones Gilje has completed an apprenticeship in the craft of bunadtilvirking. Since 2015 she has, together with Eldbjørg Breivik Smeland and Olga Maria Breivik, worked on cataloguing woven bands in the Åmli area. Magnhild has been awarded a Norwegian Crafts Institute three-year scholarship, which she started in September 2024. She will be using this opportunity to further study woven bands and develop her skills as a craftsperson. She will be keeping an informal record of her work on her blog, which will include summaries in English: https://stipendiat.handverksinstituttet.no/bandveveren/velkommen-til-bandveverens-blogg/

October 2024

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Skillbragd Puzzles: Overshot Coverlets in the Vesterheim Collection

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By Laurann Gilbertson, Curator
Vesterheim Norwegian-American Museum

There is a coverlet at Vesterheim Norwegian-American Museum in Decorah, Iowa, that has always bothered me. It shouldn’t. It’s beautiful and interesting and came with some family information. This coverlet was from Troms or Vestre Toten, a gift of Valborg Ravn. To try to understand the Valborg Ravn Coverlet better, I compared it to other overshot coverlets in the collection and dug into its history. [Note: the coverlets are identified by the donors’ names.]

The Ravn Coverlet from Troms or Vestre Toten. Wool on cotton, 57” x 72”. Gift of Valborg Ravn. (1980.097.001).

The Valborg Ravn Coverlet has a ground of unbleached cotton, woven in unbalanced plain weave. The warp yarn is single and the weft is used double. The pattern weft is two-ply wool. Two shades of red, two shades of green, and white were used, with the darker shades of red and green appearing dominant. The coverlet was woven in two sections and joined with a handsewn center seam. The ends have tiny, rolled seams that are carefully handsewn.

As Kay Larson explains in The Woven Coverlets of Norway (University of Washington Press, 2001), there are two types of designs of skillbragd or overshot coverlets, depending on whether the patterns were controlled by the threading of the loom or whether the weaver used a weaving sword to bring forward patterns stored at the back of the loom.

Thread-controlled patterns are characterized by smaller repeats with multiple, long vertical stripes where the ground is not covered by wool pattern wefts. One example of this type is the Helga Lund Parsons Coverlet (1974.018.001), brought from Oppdal in Sør-Trøndelag, Norway.

Helga Lund Parsons Coverlet from Oppdal in Sør-Trøndelag. Wool on linen, 51.5” x 69.5”. Gift of Helga Lund Parsons.(1974.018.001)

Because the Valborg Ravn Coverlet does not have vertical stripes characteristic of a threaded pattern, it may have been woven with a weaving sword. Diamonds, large Xs, and eight-petal flowers are common motifs on coverlets woven with a sword. And this one has diamond and Xs patterns.

Valborg Ravn Coverlet, detail

In an email, Kay described another difference between threaded patterns and patterns on coverlets woven with a weaving sword. “I guess I think of the distinction between threaded and stored-pattern skillbragd as indicated by the size of the repeats: limited by the number of shafts for a threaded pattern, but usually just by practicality for one that’s stored. Your subject piece, the Valborg Ravn Coverlet, looks like it has a pattern repeat of about 12 rows, whereas threaded patterns when regularly repeated are usually 4.”

Part of what has bothered me about this coverlet is the smaller-scale pattern along the center seam. Shouldn’t that be on the sides? Lauryn Johnson, Collection Assistant at Vesterheim, took a photo of the coverlet. Using the digital photo, she cleverly divided the image along the seam, rotated each half, and put the halves back together with the small-scale pattern as side borders. Ah! Much better.

A photo of the Valborg Ravn Coverlet, digitally altered, flipped symmetrically.

The center seam of the Valborg Ravn Coverlet appears to have been sewn at the same time as the end hems and both early in the life of the coverlet. Was this an accident or did the weaver prefer the effect of the fine patterning in the center? Was the weaver a rebel, asking “Why should the side borders be on the sides?”

Am I viewing this coverlet with my own aesthetic? Perhaps, but let’s look at the Floyd Fairweather #1 Coverlet (1986.093.035). It was woven in one width so there could not have been an accident in the placement of the finer patterning on the outer sides.

Floyd Fairweather #1 Coverlet Wool on linen, 54” x 67.5”. Gift of Floyd Fairweather. (1986.093.035)

Side borders of small patterns appear on many of the sword-woven skillbragd coverlets in Vesterheim’s collection. The Erling A Dalaker Coverlet (1997.079.015) is a stunning and old coverlet from Rogaland County in western Norway. The side borders are made up of small, equal-armed crosses. What catches your eye first, though, is the color. The weaver has intentionally changed the color of the yarn while weaving so that there is a center green block (and several smaller red or green blocks). An overshot coverlet with a center color block is sometimes called sparlaken and was used over a coffin during a funeral. The solid-color square marks the spot where a Bible or candle was placed.

The Erling A Dalaker Coverlet from Rogaland. Wool on linen, 41” x 60”. Gift of Erling A Dalaker. (1997.079.015)

There are also intentional color changes on the Floyd Fairweather #2 Coverlet (1986.093.032), though just for some of the eight-petal-flower motifs. This is only half of a coverlet. What is probably the side border is made of concentric Vs.

The Floyd Fairweather #2 Coverlet (a half coverlet). Wool on cotton, 25.5” x 60.5”. Gift of Floyd Fairweather. (1986.093.032)

Vesterheim has far fewer sword-woven skillbragd coverlets than loom-controlled. And only three of Vesterheim’s ten sword-woven coverlets have information about where they came from or who might have woven or owned them. There wasn’t much on the Valborg Ravn Coverlet, so I dug a little deeper into its background.

The coverlet had belonged to Theoline Knatterud and Karl Høegh. Theoline was born in Vestre Toten in eastern Norway and came to Minnesota as a young woman with her family. Karl was born in Troms County, Norway, and worked for a merchant before moving to Spring Grove, Minnesota, in the 1860s and opening a hardware store. He went by Charles Hoegh in Minnesota. Unfortunately, when Theoline and Karl’s granddaughter, Valborg Ravn, donated the coverlet, she didn’t know or didn’t say which parent had brought it from Norway.

My next step will be to explore sword-woven skillbragd coverlets on the Norwegian museums’ online catalog at digitaltmuseum.no. When I search “skillbragd” and then select “things,” I’m presented with 3,712 beautiful textiles to review. There isn’t a Norwegian term that differentiates the sword-woven and loom-controlled skillbragds, so this might be a task saved for a rainy or snowy day. Perhaps you’d like to explore, too.

Laurann Gilbertson holds a BA in Anthropology and an MS in Textiles & Clothing, both from Iowa State University. She was Textile Curator at Vesterheim Norwegian-American Museum in Decorah, Iowa, for 19 years and is now the Chief Curator there. Among her duties are overseeing the collection of more than 30,000 artifacts, creating exhibitions, and leading Textile Study Tours to Norway.

October 2024

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LONG LIVE WEAVING — Thoughts on Crown Princess Mette Marit’s Weaving Symposium

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By Jon Fredrik Skauge

Editor’s note: On Friday, April 12, a very special weaving symposium was held under the auspices of Her Royal Majesty Crown Princess Mette-Marit, “Samlede Tråder” [Unifying Threads]. Many of the invited weavers posted in social media about the gathering. Jon Fredrik Skauge wrote a heartfelt memory of the day in an essay on his Facebook page. He agreed to share it.

I noticed it as soon as I walked in the door of Queen Sonja’s Art Stable [Dronning Sonjas KunstStall], a feeling that is still with me. All the staff members stood waiting to receive the assortment of weavers. And if it wasn’t all of the palace staff, it was many. Everyone greeted and directed us; it was like being led into a safe textile embrace.

A scene from the symposium, taken by the palace photographer.

When I attended my church meeting on Saturday, Bishop Ragnhild Jensen asked, “How was the weaving symposium yesterday?”

Yes, it felt nice. The stable was converted to a weaving studio for that day and Her Royal Highness the Crown Princess invited 260 women weavers and a few men to gather to pay tribute to weaving.

For that day the stable made for Queen Maud wasn’t filled with sawdust. No, it was as if the large hall was wrapped in the softest and finest of textiles. I felt like I was lifted in the finest woven comforter filled with down.

I and many others have our favorite textiles, “hobby horses,” those we like to take out and ride in and out of season, and that would have been fine in the stable. But no, the Crown Princess made us put them away that day.

Everyone was there for weaving – multi-faceted weaving that joins fibers of different threads into one another and creates the most beautiful expressive textiles in various techniques.

Why was this day at the palace so special? I pondered this between the long sessions of my church meeting. Because it was exceptional, a true red letter day for Norwegian textiles, a day I’ll never forget.

What was it that the Royal House and Crown Princess did that day? They did what the Royal House is so good at, acting as a host – a host who sees and values everyone. Because there I sat, with noted artists, weaving teachers, researchers and talented craftspeople, weaving students, and us everyday weavers. We who love to throw a shuttle.

There were many fine presentations that day, and conversations. I was lucky enough to participate in one of them.

All of the elements were so well-arranged the program couldn’t have been better. The content was like colorful stripes in a weaving, and Kare Slaatsveen brought this fabric together by leading in her safe and warm manner of speaking.

But there is one conversation I especially remember: Her Majesty Queen Sonja’s brilliant dialogue with weaver Anne Britt Lotsberg, born in Fjærland, who has taken it upon herself to copy the weavings at Gamlehaugen in Bergen. There was an even playing field at that moment, the Queen and vevkjerringa [weaver] on the same level. And they played on stage, weaving words about this meticulous craft together. Because yes, it is painstaking work, weaving that takes quite a long time. The Queen was probably curious about whether Lotsberg would manage to copy everything at Gamelehaugen, so the Queen asked how old the weaver was.

Lottsberg replied, “It’s not a question of how old I am, but how old I can get.” Because that’s the way it is; good handwork takes time, and it takes the time it takes.

A huge heartfelt thank you to Crown Princess Mette Marit for allowing me to participate and contribute to this memorable day. I thank the good Lord that the Crown Princess found weaving, and hope she will continue for many, many years. I will attend the last day of the church meeting in thankfulness.

Long live weaving!

From Jon Fredrik Skauge’s Facebook post: https://www.facebook.com/photo/?fbid=10161021224689584&set=pcb.10161021225099584

Jon Fredrik Skauge posted this on Facebook on April 14, 2024.

Jon Fredrik Skauge is a historian, bunad maker, cultural mediator and farmer from Orkdal, Norway. His book, Dei tapte tinga [The Lost Things], came out this year from Dreyer Publishing. When thieves broke into the family farm in 2022, objects worth hundreds of thousands of kroner and priceless sentimental value disappeared. In the weeks after the burglary, he spent a lot of time cleaning up every room, every cupboard and every drawer. He had to find out what was missing. In this process, he began to write down the stories of the things.

Skauge was recently awarded first prize in the Holdbart håndverk [Lasting Handcraft] competition from Husflid magazine. He was recognized for weaving diamond twill placemats from linen he grew and processed himself. Skauge also has a long, narrow linen tablecloth with sprang at one end featured this summer in an exhibit at Gudbrandsdalsmusea, Fra frø til tråd [From Seed to Thread].

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Crown Princess Mette Marit’s Remarks at the “Unifying Threads” Weaving Symposium

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Her Royal Highness Mette-Marit, the Crown Princess of Norway, is an avid weaver. On April 12, 2024, in honor of her 50th birthday, she held a weaving symposium, “Unifying Threads.” These are her opening remarks.

Welcome to Queen Sonja KunstStall [Art Stable] and to the weaving symposium.

Today we are gathered in what is Queen Maud’s old riding stable. Imagine that a hundred years ago, Queen Maud sat up on that balcony and looked down on her beautiful horses. They were her great passion. And today, in the same place, we get to highlight and hold on to some of what is most important to us. I think there is something very beautiful about that.

And had it not been for our beloved Queen Sonja’s ability to take care of culture and history, this beautiful room would not appear as it does today.

So I would like to thank the Queen for allowing us to gather here, but most of all for the fact that throughout your work you have held fast to the fact that culture and traditions are a vital part of being human and an important part of the task of the royal house.

Last year I turned 50, and I really only had one wish: To be able to invite people from all over the country to a national weaving event. And so, dear all, I am very, very happy to be here with you today.

Many of the 260 invited guests at the symposium. Photo taken by a palace photographer.

I am so lucky to have been surrounded by handicraft throughout my upbringing. My mother and my three aunts sat bent over their handwork early and late. And if someone knitted, that was what all four were doing, and if someone embroidered, all four were doing it… I discovered quite early on that I was never very good myself. I don’t think I ever finished knitting a sweater. I just didn’t get it. Maybe I’m too imprecise. Maybe too impatient.

But that was until I discovered weaving.

I started weaving just before the pandemic, and for me it has been a revelation. I want to say something about what it has meant to me. The first thing I learned was that warp and weft are only part of what creates a weaving. Perhaps the most important ingredient is patience. Patience is not something I was born with. And the times we live in and the technology we surround ourselves with have done something to our patience – the amount of information and the expectation of an immediate response has meant that our attention and our patience are divided into ever smaller pieces. But as with anything else, you get better with practice. Sitting at the loom trains patience. You can’t rush when you have to weave, and you gain patience with yourself and others. Have I become a more patient person from weaving? I don’t know what the Crown Prince would answer, but at least no less patient!

I have also realized that “handcraft” and “handwork” are perhaps slightly misleading terms. That they are a bit mundane. Because the work may be done with the hands, but weaving is a complicated interaction, both in the loom and in the weaver. A direct connection is opened between the head, the heart – and the hands.

It also means that the loom becomes a mirror in many ways. The weaving is affected by how you feel about yourself. And if I am ever in doubt as to what kind of mood I am in, it becomes very clear when I sit down at the loom.

I think everyone needs to have a space that is just for ourselves. And for many of us, our loom is that space.

***

Elisabeth Haarr once said that stepping into the world of weaving is stepping into a world that is wide, beautiful and full of love. I have really felt that.

For one thing, the work is there at the loom – you and the loom. It is something else when you are lucky enough to have a place in a weaving community. This generous, wonderful community, where people ask and help and support each other, has really been a revelation for me. When I sit at the loom and can’t get things to work, all these lovely ladies come – with experience, smiles and often a good story. I learn something new, gain some new self-confidence – and the result is always better.

I have realized that starting to weave is really the same as learning to ask for help. And it’s quite beautiful, because every time a human asks another human for help, when we help each other, the bonds between us are strengthened. In this sense, a weaving studio not only produces weavings, but also community. And really, we should all get better at asking each other for help when we need it – both within the weaving studio and without.

***

These are exciting times for weaving. Most people sitting here today know that weaving and textile art have not always received the recognition they deserve. Therefore, it is incredibly gratifying to note that textile art is really on the rise. Interest and recognition in the textile field has increased considerably in recent years. All over the world, prestigious galleries and art institutions now showcase new and old textile artists on an equal footing with other art forms.

In Norway, we have been weaving since time immemorial, and fortunately there are quite a few men in the Norwegian weaving community. But weaving in Norway has traditionally been a women’s arena. And when you feel this strong community that arises around weaving, you sense a timelessness. You can hear the echo of weaving women who have sat shoulder to shoulder and helped each other.

The threads you work with stretch back, so to speak, hundreds of years, to the looms of the past. And these long lines emphasize how important it is that we take care of this history and its traditions. Therefore, we must make sure that there is a future for weaving.

When I sit in the weaving room, I am often among the youngest – the hair colors in a weaving room tend to be – without offending anyone – 50 shades of grey. That is why it is so heartening to see that there are many young people now who want to study the old traditions, that more people choose weaving when they want to express themselves artistically, and that the Norwegian weaving community is growing. But for it to continue to flourish, we have to ensure good soil and good growing conditions. We have to make sure that the craft is not taken out of curricula and does not disappear from schools, and we have to make sure that it is possible to obtain a practical education in weaving.

That is part of the reason why we are gathered here today. Because the more densely woven something is, the more durable it becomes. Therefore, today we will try to gather some of the threads that make up the Norwegian weaving community. Because we really are diverse! There are 260 people here – weavers and weaving enthusiasts from art and handcraft, from organizations, educational institutions, galleries and museums. From small spinneries and large producers of wool products. Many of you already know each other, but we still hope that you will make some new connections during the day.

***

Now I’m really looking forward to the program. We have tried to bring out the great diversity in the craft and art to which we all belong. Everything from great artists with names we all know, to the many anonymous women and men who make everyday life more beautiful. I would like to thank each and every one of you sitting here today for your contribution to holding on to our culture and our traditions.

And with that, I think we can welcome the woman who will lead the day with a somewhat strict but very friendly hand, Kari Slaatsveen. Welcome!

This text was posted on Facebook by Solveig Orstad Teig en on April 17, 2024.

The symposium invitation. Photo: Solveig Orstad Teigen

Translated in July 2024 by Robbie LaFleur and Katherine Larson.

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One Person’s Trash(-y Textiles), a Historian’s Gold: Part Two

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By Karin Bøe

The kvitveis tour that became the kviletjeld tour, part 2. See part one here.

In the previous post I wrote about finding four old wool duvets in a pile of old building materials. They looked awful after a winter outside, but for a craftsman interested in history they looked exciting. Now I want to tell you about the woolen duvet which looked the least exciting – won’t that be interesting?

This woolen duvet turned out to have a cover of cotton fabric on the outside. I tore it off. Then it was a wool duvet with a machine-woven wool blanket on one side and red fabric on the other side.

Woolen duvets were made from old wool coverlets and pieces of woolen fabric, anything that could provide warmth. That’s why I had to look inside this boring woolen duvet and tear off the red fabric. There was a coarse burlap. Not so exciting. So then I had to tear that off as well.

Wait a minute, what color was the warp actually? It’s not just white, even if it’s very gray now. There are both some white and some dark threads! And there is no regular system for them! They appear helter skelter. How could this happen? If you run a warp with four threads at a time and have one white and three grey, they will of course repeat themselves. But they don’t.

Then there were old quilts that had been patched together. They were quite grey, but I could see the red of the stripes that were woven into dark brown woolen yarn. A familiar and dear sight.

I called a friend. I consulted with Annemor Sundbø and she believes that it is yarn that is spun with wool in different colors according to a random method, as you often see in warps on old Turkish carpets. Wow! Very cool. This gives a great effect in the background with dark stripes on it.

I want to take care of this blanket. I brushed away all the fluff that was in the edges with a soft toothbrush and pulled out loose threads, because there were many of them when it was sewn together, layer upon layer. I took it up to the river and washed it. I could probably have washed it longer. It’s still quite grey, but it feels much better. A gray treasure!

So now I’m inspired to learn how to spin using the random method. I am practicing spinning with a drop spindle from rolls of fleece. I’ve learned from the old people that the warp should be spun on a drop spindle. This avoids a weak point every time you take a new roll. So you just have to keep at it, practice and practice.

Think how much work went into these quilts and then the woolen duvets. A lot of wool was plucked, carded, spun, spun — many hours lie there, and a lot of love and not just toil, I hope. I am both impressed and humbled by our foremothers. Where would we be without their knowledge, experience, technique and courage?

🤍🐏🪡🐏🤍🐏🪡🐏🤍🐏🪡🐏🤍🐏🪡🐏🤍

Karin Bøe moved to Valle in Setesdal in 1995 as a craft instructor. She began to study weaving traditions in the Setesdal region by examining coverlets and interviewing older weavers. In 1996 she began her business, Valle Vev, creating traditional weavings. She has a certificate in handweaving and a masters in traditional folk art. In 2012 she published her book, Rugger og Brossar. Åkle i Setesdal (Rugger og Brossar: Coverlets in Setesdal).

Translated by Robbie LaFleur, July 2024.

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A Red Lion and Castle Flamskväv from Skåne

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By Kristina L. Bielenberg

The historic textiles of southern Sweden are especially appealing, given their bright colors and detailed designs. My great-grandmother came from western Skåne, so I am particularly fond of the geometric röllakan and curvilinear tapestry weaves from this region of Scandinavia. The older textiles, from the 18th and first half of the 19th centuries, have become harder to find at reasonable prices in recent years. Therefore, as a weaver and collector, I am happy when I can purchase even a tattered textile that reveals technical features of its construction while retaining much visual charm.

In anticipation of my birthday, I splurged and bought a well-worn top of a square cushion cover [dyna, jynne or kudde] woven in dovetail tapestry technique – flamskväv. According to several authorities, its central design, a red lion and a castle in a roundel of foliage and flowers, was one of the most popular during the period 1780-1800. Most of the red lion and castle tapestries are attributed to the Bara District just east of Malmö, with some 70 examples having been inventoried from southwest Skåne, including single and double agedyna [seat covers]. Interestingly, many of these surviving textiles are almost identical in composition and color, suggesting that their weavers relied on the same prints or cartoons for their design or closely copied the work of other weavers.

All photos: Kristina Bielenberg

The cushion top that I acquired is approximately 19 inches high by 20 inches wide. It has an indigo blue background inside the roundel, which contrasts nicely with the red lion, and also a dark brown field behind the surrounding frame of flowers. Some of these flowers are recognizeable – tulips, roses, and a lily – but other blooms and figures defy identification. Like most flamskväv pieces, the design was woven perpendicular to the warp on a vertical tapestry loom. (See detail photos here and at the end of the article.)

The warp is a fine two-plied linen warp (Z2S) with a sett of 12 ends per inch. The weft is spun of fine worsted wool, two-plied (Z2S) and, though the density varies somewhat, there are approximately 40 weft passes per inch, creating a firm but flexible fabric. The front of the textile is somewhat faded, but the vegetable-dyed weft yarns retain their distinct colors and lustrous beauty.

Why the red lion and castle? That remains a bit of a mystery. Some scholars say that the red lion was derived from the Biblical story of Samson’s battle with the lion; others describe it as a symbol of nobility and valor. One has said that the red lion was a heraldic symbol for the village of Bara. No one knows for sure. King Frederick I of Sweden acquired a live lion in 1731, so I imagine that this might have been a source of inspiration.

My cushion top’s design, or one very similar to it, was copied by 20th century weavers and woven using commercially-dyed, woolen-spun yarns. One from about 1900 recently sold at Stockholm Auktionsverk and, though nicely executed, it is coarser in appearance and the pattern is reversed and simplified. See: Flamskväv Skåne The patterns for such 20th century reproductions were often produced by handicraft associations and can still be purchased on-line from Skåne AB’s webstore. See the akedyna design kit with materials at: https://butiken.hemslojdeniskane.se/produkt/lejon-i-krans/

As noted at the beginning of this article, my red lion and castle cushion top is tattered. Sections of weft are missing and there are tears along the selvedge. The seller had mounted the piece on dark cardboard with a cardboard and fabric frame to hold the piece in place. My plan is to remount this textile using acid-free board, supporting fabric, and museum conservation clear glass to protect the weaving from ultraviolet light. This should extend the life of this historic treasure for future generations to admire and study.

Sources:

Viveka Hansen. Swedish Textile Art: Traditional Marriage Weaving from Scania. The Khalili Collection of Textile Art: Vol. 1. The Nour Foundation : London, 1996.

Willborg, Peter. Flatweaves from Fjord and Forest: Scandinavian Tapestries of the 18th and 19th Centuries. David Black Oriental Carpets : London, 1984.

Also, DigitalMuseum.se, “flamskväv” For example: Vävnad

Kristina L. Bielenberg is a retired attorney living in Vermont. She learned to spin at the age of 9 and weave as a teenager. Her current dream project is to weave a Norwegian-style åkle on an oppstadgogn using her own handspun yarn.

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One Person’s Trash(-y Textiles), a Historian’s Gold

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By Karin Bøe

Editor’s note: Weaver and historian Karin Bøe, from Valle in Setesdal, Norway, took a hike to find beautiful spring flowers, but found another treasure…

My kvitveis [a white early spring wildflower] trip turned into a kviletjeld [blanket] trip!

In a pile of old building remains, some textiles peeked out. The friendly landowner let me take them out and do what I wanted with them. I took them out and laid them to dry in the sun. A winter out in the snow and wind had taken its toll. It is easy to understand that they were thrown away, they were in horrible shape and looked useless. But for a historian and craftsman, these are valuable treasures! It is rare that I have seen old wool quilts, because they are usually thrown away, unfortunately. We may not be able to preserve everything, but then it is important to document it well first.

All photos by Karin Bøe

Lying in the pile were four woolen quilts, a piece of a kyrkjetjeld [a woven shawl worn to church], a piece of vadmål [woolen cloth] and one end of a skirt.

One wool quilt had a cotton cover and didn’t look very exciting. A second woolen quilt was made from machine-woven blankets, with wool in between. Two woolen quilts were made from old kviletjeld [handwoven wool blankets], quilted (or darned) and folded together with some coarse straw and cotton fabric and sheep’s wool inside. Often in the old quilts one layer was made of coarse burlap, likely woven from jute.

Older people have told me that there were three types of woolen quilts, which were called stoppeteppe [quilted blankets]. One was with carded wool, which they put between two blankets and sewed in place, such as these. Another type was to sew together all the rags of old woolen clothes, but those became quite heavy. The third type was a vatteppe [a quilt bought at the store].

These woolen quilts tell so much. Think how skilled they were at making use of what they had. Think how much time and work has gone into them. First carding, spinning and weaving blankets. And when the blankets are worn out, they stuff the remains together with carded wool into a warm quilt.

Even if an old textile looks horrible and useless today, a craftsman can glean much information from them. Here we can study the colors, patterns, threading on the loom, thread density, thread quality and wool quality in the weave, as well as technique and use of wool quilts…The conclusion is; please do not throw away textiles before you have asked a historian or craftsman. It could be worth its weight in gold to someone! These textiles are part of our cultural heritage and are important cultural relics that tell us about the people who have lived before us and women’s crafts.

Karin Bøe moved to Valle in Setesdal in 1995 as a craft instructor. She began to study weaving traditions in the Setesdal region by examining coverlets and interviewing older weavers. In 1996 she began her business, Valle Vev, creating traditional weavings. She has a certificate in handweaving and a masters in traditional folk art. In 2012 she published her book, Rugger og Brossar. Åkle i Setesdal (Rugger og Brossar: Coverlets in Setesdal).

Translated by Robbie LaFleur, June 2024.

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

Book Review: Vevd Fargeglede: Sengetepper i Vest-Agder

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By Katherine Larson

Vevd Fargeglede: Sengetepper I Vest-Agder [Woven Delight: The Coverlets of Vest-Agder]. By Nanne Støhlmacher. Skald Forlag, 2024.

Square-weave coverlet, Øyslebø, Vest-Agder.

The whole pattern looked like a cubist flower meadow strewn diagonally, sprinkled with small scintillating stars in a jumble of colors, cheerful and smiling… all talking over one other, yet playfully and without fuss. (Review of a coverlet exhibition in Kristiansand, 1925)

So begins the chapter on square-weave in the long awaited book, Vevd Fargeglede: Sengetepene i Vest-Agder [Woven Delight: The Coverlets of Vest-Agder]. With vibrant textiles pictured on nearly every page, author Nanne Støhlmacher presents the distinctive bed covers that were once prevalent in her district of Norway, from coverlets of serviceable yet decorative plain weave, to those woven in the unusual danskbrogd [Danish-weave] technique, an anomaly even in Vest-Agder.

Typical plain-weave patterns

Danskbrogd [Danish weave], front

Danskbrogd, back

Many of the coverlet types from this southern district were also typical in other areas Norway – krokbragd and square weave, overshot and rya. But there were significant differences in the preferences of Vest-Agder weavers. Of particular note are the color nuance and pattern choice characteristic of the area’s square-weave coverlets. Unusual as well are the weft-faced techniques that often served as the groundweave in both rya and monk’s belt coverlets.

Square-weave coverlet, Vigmostad

Monk’s belt with weft-faced ground weave

The book’s introduction by Bjørn Sverre Hol Haugen, curator at the Norwegian Folk Museum, provides the context for Vest-Agder’s coverlet tradition. Hol Haugen notes the social differences to be found between Vest-Agder’s narrow band of well-to-do and outward-looking coastal towns and the relatively conservative interior farming communities, with accompanying contrasts in what was typical for a bed and its accoutrements. He touches on the creation of bedding as an accustomed part of the yearly cycle on Vest-Agder’s mostly self-sufficient farms, and he introduces the work of pioneer textile research Anna Grostøl. Grostøl, a teacher who grew up in the coastal town of Lista, documented many Vest-Agder traditions that were fast disappearing by the early and mid-20^th century. Her substantial collection of notes, photographs and samples, now held by the Norwegian Folk Museum, provides a rich resource on which Støhlmacher draws throughout the book.

Rya coverlet with a ground weave of krokbragd

As the pile wears away, the underlying krokbragd patterns become more visible.

In her thorough treatment of the coverlet tradition, Støhlmacher begins with a chapter on the materials, tools and dyes needed to make the coverlets, describing the enormous amount of work required before weaving could begin. She then devotes a chapter to each coverlet type, with sections on technique, materials, pattern and color. Støhlmacher’s grounding in textiles, from her own training in textile techniques at the Statens lærerskole i forming [Norwegian Teacher’s College in Handcraft] to her several years as a board member of Norges Husflidslag [the Norwegian Handcraft Association], is evident in her treatment of the subject and combines nicely with her enthusiasm for the textile traditions of her district. Building on the foundation provided by Anna Grostøl, she has seemingly left no stone unturned, perusing estate documents for indications of past coverlet usage and visiting remote farms on the chance that coverlets might be tucked away and forgotten in trunks or storehouses.

Above, detailed images of krokbragd, square-weave and skillbragd coverlets.

The text of this book is in Norwegian, with English summaries at the end of each chapter, but the visual impact of the book may compensate non-Norwegian readers for the inevitable loss of some historical detail. Each coverlet type is represented by a mix of full and detailed images that convey pattern and color, and the ornately carved or painted beds on which some of the coverlets appear allows one to appreciate the context in which these textiles were used.

Goose-eye coverlet, Sirdal.

Beyond her textile knowledge, Støhlmacher’s interest in the cultural history that the coverlets represent is unmistakable. Visually striking among the many coverlets are the photos of both farm life and the women at the heart of this textile tradition. Most of these images are in black and white, pictures taken nearly a hundred years ago by Anna Grostøl while recording the recollections of her interviewees. The weather-beaten faces of these older women speak to a time and a way of life that is now gone, bringing to mind the countless women behind the textile traditions that are portrayed in this book.

Kari Hodne, b. 1871, with scythe, bucket and rake in Åseral, 1943.

Gurine Kimestad, b. 1850, told Anna Grostøl she learned to spin before she was 8 years old.

On a personal note, it has been my pleasure to consult with Nanne Støhlmacher for over 10 years on this project, watching it grow from a sparsely outlined idea to a fully realized and impressive presentation of Vest-Agder’s coverlet tradition. Perhaps my own family’s roots in the district explain why I find these coverlets particularly appealing, with their patterns “all talking over one other, yet playfully and without fuss.”

Siri Haagensdotter Fuglestveit (b. 1822), Øyslebø, 1904.

Siri wove her initials into this coverlet in 1851 (for larger view of coverlet, see first figure).

May 2024

Katherine Larson is an Affiliate Assistant Professor, Department of Scandinavian Studies, University of Washington. She is the author of The Woven Coverlets of Norway.

All photos are from Vevd Fargeglede: Sengetepper i Vest-Agder, by Nanne Støhlmacher, with permission from Skald Forlag. The book is available at the Vesterheim Norwegian-American Museum bookstore after mid-June.

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

Nordic News and Notes, April 2024

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Exhibits

“Karin Larsson: Let the Hand be Seen.” American Swedish Institute, Minneapolis, MN. June 8, 2024 – October 27, 2024.

Explore the colorful work and legacy of Karin Larsson—a trendsetting artist, designer, and style icon ahead of her time—in a special exhibition at the American Swedish Institute from Carl Larsson-gården.

Karin Bergöö Larsson (1859–1928) was a groundbreaking artist whose approach to textiles and design ushered in a new era of interior design and established the iconic Swedish style that continues to inspire contemporary artists worldwide. The floral motifs, vivid colors, and charming simplicity of her style remain heavily influential nearly a century after her death, inspiring both independent makers and major brands like IKEA.

Many of Karin’s works were forever captured in husband Carl Larsson’s iconic paintings of Swedish life. It was Karin who designed and created Lilla Hyttnäs, the Larsson’s home just outside of Falun in Sundborn, Sweden, which was so often the subject of Carl’s paintings.

This exhibition presents Karin Larsson as an artist, designer, dressmaker, and style icon through her art and textiles.

Tendencies 2024 – In the Right Hands. Galleri F15, March 23 – June 12, 2024. Moss, Norway.

The 46th edition of Tendencies focuses on craft’s materiality, the work of the hands, and making statements through textiles. The exhibition presents the practices of 15 artists based in Finland, Norway, and Sweden.

For those who can’t travel to Norway, a short video on the gallery website gives an overview of the works. The Norwegian text of the video is mostly in English in the exhibit description, except for this, “The source of inspiration for this edition of the Tendencies exhibit is the artistry of the Norwegian textile artist Brit Fuglevaag. She is an 84 year old woman who was very significant n the development of textile art and weaving in the 1960s, and who remains active in textile art today.” Photos of individual works can be seen in the Media Gallery.

Lectures Online

Nearly Wild Weaving. Tapestry: In Conversation – With Robbie LaFleur. Wed, April 24, 2024 7 pm UK time. (Eventbrite calculates the time for each guest’s time zone. It costs 10 pounds, which Eventbrite conveniently charges you for in your own currency.) Register here.

During our conversations we find out how our guests approach their work, what inspires them, what techniques they favour and why. Throughout this season we are taking a more international view of tapestry weaving, and this month delighted to be crossing the Atlantic once again, this time to talk to Robbie LaFleur who is based in Minnesota. And as we talk, we’ll also be travelling back across to Scandinavia, finding out more about Robbie’s long association with weaving in Norway.

Robbie’s work is strongly influenced by traditional Norwegian weaving. She has a particular interest in the work of Frida Hansen, which she studied in depth during a funded research programme in 2019. Robbie has been the editor of the Norwegian Textile Letter for many years and is also an instructor, introducing many others to the different facets of Scandinavian approaches to tapestry weaving.

We will find out what brought Robbie into tapestry weaving and especially the world of Scandinavian weaving, how she approaches her designs, the influences on her work and discover where her work has taken her.

“Early Swedish Folk Weavings” with Wendel Swan. May 1, 2024, 1 pm EDT, 7 pm CET. Registration is required. Click Here to Register. Cost: Free

Wendel Swan, who has loaned 54 rare and exemplary textiles for the current exhibition Swedish Folk Weavings for Marriage, Carriage, and Home 1750-1840, at the American Swedish Historical Museum in Philadelphia. He will discuss the historical background of Scandinavian weavings since the Viking era and, with numerous illustrations, the enormous diversity and aesthetic merit of design elements, color and weaving techniques of Swedish textiles that were produced for personal household use in relatively small Scania.

Lectures (In Person)

“Norwegian Folk Costumes: A Living Tradition.” Lauran Gilbertson, Curator, Vesterheim Norwegian-American Museum. May 18, 2024. 11 am. Location: New Directions Real Estate Building, lower level, 110 North Main Street, Westby, Wisconsin.

As part of the Westby Syttende Mai celebration, Vesterheim Chief Curator Laurann Gilbertson will explore Norway’s tradition of colorful folk costumes is as old as the Middle Ages, and as young as the 1940s. Learn about the history of costumes from Hardanger, Telemark, Hallingdal, and many other regions of Norway. The forces of politics, fashion, and immigration have left their mark on this important part of Norwegian and Norwegian-American folk culture.

The program is open to the public and starts at 11:00 am. For more details about the event contact Dave Amundson at nissedal@mwt.net or visit HOME | Westby Syttende Mai (syttendemaiwestby.com).

Helena Hernmarck tapestry at Hudson Yards

“Hernmarck Tapestries at Hudson Yards: Artist Talk with Helena Hernmarck and Matilda McQuaid.” Wednesday, May 22, 7 pm. Free. (Reserve tickets.) Scandinavia House, located in New York City at 58 Park Avenue, four blocks south of Grand Central Station.

Tapestry artist Helena Hernmarck and moderator Matilda McQuaid discuss Hernmarck’s latest commission: two sets of monumental tapestries for a residential lobby at 35 Hudson Yards in New York City, Flowers and Maple Tree. The program will also include a screening of the documentary Hernmarck Tapestries at Hudson Yards (20 min.), which showcases Helena’s ongoing collaboration with weavers and spinners in Sweden. The film also explores the complex design and installation requirements for the unique commission, and highlights the relevance of tapestry as an art form in contemporary architectural settings.

“The Influence of Karin Larsson on the Art World and the Work of Helena Hernmark,” an artist talk by Helena Hernmarck. Sunday, June 9, 5-9 pm. American Swedish Institute, Minneapolis Minnesota. Cost: $30 ($25 ASI members) (Register here.)

Be the first to view Karin Larsson: Let the Hand Be Seen at this preview event featuring a special FIKA Café menu and artist discussion from the renowned Swedish textile artist, Helena Hernmarck, who was heavily influenced by the work of Karin Larsson.

Have you ever caught yourself marveling at the massive tapestry in the Nelson Cultural Center? Now’s your chance to meet the artist herself! Following a screening of a new short film about her work, Helena Hernmarck will discuss her work and the influence of Karin Larsson on the art world.

Join ASI for small plates in the courtyard available for purchase, featuring a menu inspired by Karin Larsson’s cookbook and curated by FIKA Café’s executive chef, Amalia Obermeier-Smith. Dress up inspired by Karin or come as you are!

Web Sightings

“Tradition in Transition: A Colorful Baptismal Dress from Norway.” Laurann Gilbertson, Curator, Vesterheim Norwegian-American Museum. Piecework, April 3, 2024.

This short essay begins, “Garments worn for special occasions make up a significant percentage of many museums’ collections because they are the textiles that people tend to save and pass along.” Beautiful textiles become even more meaningful when accompanied by the stories of the people who made and used them.

“Hardanger Embroidery: Needlework to Do When the Loneliness Comes.” Laurann Gilbertson, Curator, Vesterheim Norwegian-American Museum. Piecework, November 3, 2023.

Anna Anderson began her tablecloth on her journey from Norway to the United States. “My mother gave me the tablecloth when I was leaving and told me that when I was feeling lonesome I should work on it,” she recalled.

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!

Nordic News and Notes, March 2024

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Scandinavian Weaving classes

North House Fiber Art Courses

Among the many tempting fiber arts courses held on the shores of Lake Superior are a few with a specific Scandinavian theme: Scandinavian Band Weaving with Caroline Feyling, Swedish Toothbrush Rugs with Melba Granlund, Tvåändsstickning – Mittens in Swedish “Twined” Knitting with Lily Bell, and Warp Weighted Tabletop Loom: Build and Weave with Melba Granlund.

Vesterheim Folk Art School

Vesterheim Folk Art School has announced their summer and fall 2024 in-person and virtual classes. Be sure to check out both the Fiber Arts and Weaving categories.

Video

Charlotte Hedenstierna-Jonson. “With Sail over the Baltic Sea.” (On the potential connection between the introduction of sails and the Viking phenomenon). Part of a 2022 conference, “Vikings before Vikings.”

From the description: “The iconic image of the Viking Age is arguably the sailing boat, as e.g. seen on the Gotlandic picture stones… Sail production was an extensive and in research often underestimated process, requiring extensive amounts of raw material that then had to be processed, spun and woven. Sailing provided quicker and less arduous means of transportation, increasing the range of travel, but the making of sails was an advancement that required a new level of organisation and planning. The connection between sails and the Viking Phenomenon is significant, but the social development it reflects is equally important, constituting an even more significant indicator of the beginning of a new era.”

Båtryer. Romsdal Museum.

This brief museum video highlights båtryer [pile coverlets, or rya, used on boats]. Båtryer has English subtitles. (It seems odd they chose to make it black-and-white.)

Exhibitions

“Swedish Folk Weavings for Marriage, Carriage, and Home 1750 to 1840.” Swedish American Historical Museum, Philadelphia, Pennsylvania. March 15-September 22, 2024.

From the description: “Swedish Folk Weavings for Marriage, Carriage, and Home is an exhibition of rare and artful cushions and bed covers woven by women for their households. Many have inscribed dates ranging from 1750 to 1840. Such textiles were used on or displayed for special occasions and were a significant form of decoration for the typical household.

“The design elements and patterns reflect the influence of centuries of trade since the Viking era. Visitors will see colorful geometric patterns, exotic birds, real and mythical creatures, religious depictions, crowns, floral themes, and even patterns from Roman mosaics. Swedish Folk Weavings for Marriage, Carriage, and Home was developed in collaboration with Wendel and Diane Swan, both of whom are of Swedish descent, and whose collection is primarily featured in the exhibition.”

Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you for all your appreciation along the way. Tusen takk!