Exhibit: Historical Scandinavian Textiles (Part One)

Phyllis Waggoner Recognized Rag Rug Treasures

Long Rag rug: plain weave. Warp: cotton seine twine sett at 9 epi. Weft: rags, 2 cm wide of various fibers. Warp ends covered with fabric binding. 12’ 6” long, 21” wide.

This was a serendipitous purchases from the International Design Center, importers of mid-century Modern Scandinavian furniture, about 1998. Well-worn rag rugs were used to wrap the furniture that was shipped from Scandinavia to the US. Phyllis paid about $10 each for four Swedish rag rugs.

The rugs were in a big pile at the corner of the showroom where I was shopping for dining room chairs to go with our teak table. Not surprisingly, the mound caught my attention and I asked the salesman about the rugs and he explained how they came to his showroom.

Smaller Rag rug: twill threading, treadled as Overshot and plain weave. Warp: cotton sett at 8 epi. Weft: 2 cm for plain weave, pattern weft 3 cm. Warp finish, overhand knots.

This rug was purchased from a spinning wheel importer who explained that the rugs were used to wrap the spinning wheels during shipment from Sweden. Phyllis paid about $15.

Melba Granlund’s Gifts and Flea Market Find

Dukagång Pillow Cover. Warp: linen. Weft: linen background and wool pattern inlay. 23″ x 22″ wide. Similar dukagång motifs are depicted in Gunvor Johansson’s book, Skanska Allmogevävnader, now available in English as Heirlooms of Skåne: Weaving Techniques.

Swedish Art Weave Wool Runner, combining dukagång, and krabbesnår. Warp: linen. Weft: wool. 22″ x 75″ long.

Swedish Art Weave Runner, combining rölakan and dukagång techniques. Warp: linen. Weft: wool. 23.5″ wide x 48.5″ long.

Runner in M.M.F. (Marta Maas Fetterstrom) Technique. Warp: linen. Weft: linen tow yarn for structural background, wool for the inlay pattern. 23.5″ wide x 78″ long (including fringe). The technique is described in the Manual of Swedish Handweaving by Ulla Cyrus-Zetterstrom, pp. 132-4.

Melba explained the source of her beautiful pieces:

These four pieces were gifted to me from a close friend. She and her husband, a former pastor, had received them (along with other weavings) from a parishioner while serving a congregation in Worcester, Massachusetts. The pieces were apparently woven by someone in the woman’s family in southern Sweden. Because the woman had no family to which they should be given, she gifted them to the pastor and his wife. Knowing of my love for Swedish weaving and that my mother came from Skane, Sweden, close to where these weavings were created, my friend thought I should now assume the role of caretaker of these lovely pieces. Consultation with Laurann Gilbertsen, Chief Curator at the Vesterheim Museum in Decorah, Iowa, revealed that all the pieces dated back to the late 19th or early 20th century.

Black/red/blue woolen table runner. Warp: linen. Weft: wool. 23.5″ wide x 89″ long.

On the final day of the 2013 Vesterheim Textile Tour, we had a free morning in Helsinki, Finland. Having heard of a flea market only a few short blocks from our hotel, some of us decided what better way to spend our last few hours before leaving for the airport. Besides, I still had $50 Euros burning a hole in my pocket. At the first booth, I struck gold at the bottom of a cardboard box, in the form of two wonderful textiles — one woolen paisley shawl and the other a long, black woolen table runner. Another shopper told me that the piece looked like weaving from the Karelia region of Finland, which our group had just visited a few days earlier.

Upon returning home, I showed this piece to Laurann Gilbertsen, Chief Curator at the Vesterheim Mususem in Decorah, Iowa. She confirmed that the piece was woven in the Swedish krabbasnår technique. Apparently, the clue was in the finely spun yarn and the colors used. Although Swedish krabbasnår is the same as the Norwegian Vestfoldmett technique, much heavier, thicker yarn is used in the Norwegian pieces. Upon further research, I located examples of similar motifs in Doris Wiklund’s book, Old Swedish Weavings from North to South (pp.232-5). In the book, the pieces are identified as being purchased in Dalarna from an itinerant peddlar woman.

The Vesterheim Norwegian-American Museum has similar pieces in its collection. The American Swedish Institute also has many pieces in this technique, probably because they were popular tourist items sold in Sweden.

See Part Two for more Scandinavian textile treasures.

Exhibit: Historical Scandinavian Textiles (Part Two)

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Karin Maahs has treasures she has known her whole life, and a recent find.

Tapestry cartoon. Hans Georg Berg. Watercolor, 1929. 22″ x 23″ wide.

Best photo available due to glass

Hans Berg, born in 1895 in Kristiania (now Oslo), Norway, studied painting under Christian Krohg at the National Art Academy in Oslo. After marrying Inga, he studied in several academies in Paris, Germany, Italy, France, and throughout Europe. He practised in several media: oil painting, fresco, watercolor, drawing, jewelry making, metalwork, and ceramics. At one point Hans worked as a silversmith for David Andersen, a famous jeweler in Norway. In 1950, following WWII, Hans, Inga, and their youngest daughter Ellen emigrated to America and settled in the Minneapolis area. Hans became one of the premier rosemaling artists in Minnesota, and taught painting and rosemaling at Augsburg College.

Tapestry. Inga Berg. warp: linen. weft: handspun and dyed wool. Woven in the early 1930s. 22″ x 23″ wide (excluding fringe)

Inga Berg, born in 1897 in Lier, Norway, married artist Hans Berg in 1921. They studied art on a months-long honeymoon throughout Europe. In 1929 Inga studied weaving theory at Sister Bengston’s weaving school in Oslo, Norway. She was prolific in spinning, dyeing, knitting, weaving and sewing. Often Hans would create a pattern for his adoring wife to weave.

Karin has many memories of the artistic activities of her grandparents.

Hans Berg painted his wife Inga at the loom (not in the exhibit).

As a child growing up in the 60s and 70s, living next door to my grandparents, I spent countless hours watching, listening, and learning about all kinds of art. Many afternoons were spent quietly watching grandma weaving by a big picture window in the warm winter sunlight. I was also mesmerized by watching grandpa paint. With grandma, I often sat on the floor waiting for instruction as to when to push the peddles for the spinning wheel or the very old Singer sewing machine.

Inga made many pillowcases, table runners, and wall coverings large and small to warm and decorate the house. Every flat area in their home was covered with paintings or weavings. It was a true museum filled with inspiration to fill the artistic imagination.

I recall that this particular weaving portrays a Norwegian folk tale, possibly Hans Christian Andersen’s “Folksangens fugl.” Hans Berg designed and painted it in 1929 and Inga wove it shortly after that, using her own handspun and dyed wool.

Monksbelt Coverlet. Warp: linen. Weft: linen background and wool pattern weft.

It is not certain that this coverlet is from Scandinavia, but if we were told it was from Sweden or Norway, it would seem quite plausible. Karin found the textile on a recent trip to the East Coast.

I purchased it from Lifeline Thrift in Portsmouth, Virginia. I was told it was acquired from a very old farmstead in Suffolk, Virginia, just up the river from Jamestown. It appears to have handspun linen warp and handspun and dyed wool weft. It is delightful to dream about who may have woven this, more than a century ago, and who may have used it. This is a treasure from colonial times with a Scandinavian flair.

Judith Payne, who is familiar with historical textiles, estimated that the coverlet is 18th century, mid to late. It is woven in a Monks Belt structure called checkerboard. The dye is cochineal, madder or bloodroot.

The coverlet has been cleaned by placing a screen over it and gently vacuuming using an attachment tool.

Judy Larson received her treasure decades ago.

Tapestry of Rattvik, Sweden. By Kerstin Ackerman. Warp: cotton. Weft: fabric strips. 15″ x 12″ wide.

Judy described how she came to own this tapestry.

My grandfather’s cousin’s wife was one of the first Swedish relatives I met in 1976. She was a weaver, who had the studio on the first floor and lived on the second floor of the family homestead in Vikarbyn, Sweden. She showed me her Glimakra loom, with the photograph of the village on Lake Siljan all gridded out. Then she explained that she would go line by line, adding in the colors as needed, and counting the spaces to determine the length. As a college student, I was amazed and intrigued, but never thought I’d ever have a chance to explore the wonders of weaving.

Now, when I go to see Kerstin, which I still do every other year, she has stopped weaving and taken up photography, so we discuss my weavings. She still has a special stash of her weavings that she gives as special presents, like the Rattvik rug that she gave my daughter for a wedding gift. Kerstin’s looms are now part of a village weaving cooperative, but she still has a houseful of beautiful weavings on her floors and walls. Her rugs still inspire me, and I treasure the weavings that I have from her.

Jane Connett knows Norwegian tapestry when she sees it.

Tapestry. Warp: linen. Weft: wool. 20.5″ x 30″ wide.

Jane Connett acquired a beautiful Norwegian tapestry during a time she was feeling a bit laid up a few months ago. “I spent a lot of time on Ebay,” she explained. Although the tapestry was advertised as an “Albanian kelim,” fans of Norwegian tapestry know perfectly well that it is a replica of a portion of a Norwegian Wise and Foolish Virgins tapestry. It was slightly faded on one side, but the colors were clear and strong on the other. The technical quality of the weaving is outstanding. Since the weaving followed Norwegian tradition, all the ends were sewn in so that either side is equally beautiful.

Sylvia Mohn was active on Ebay.

Kastehlmi (Dewdrop). Warp and weft: linen. Woven label: Kasityoliike Sylvi Salonen, Handmade in Finland. Design: Ritta Suomi. 41.5″ x 21.5″ wide (with frame).

I bought this perhaps 10 or 15 years ago on eBay. At the time I was looking for woven wall hangings using peach/rust/brick colors. This weaving was a similar in construction to a transparent weaving I’d gotten earlier, with the weaving lashed onto a frame. What I liked about the design were the curved lines, the lightness and openness, and the asymmetry. I thought this might be from the 1970’s with the orange and brown colors, reflecting the midcentury popularity of imported Scandinavian textiles and graphics.

Puluset. (Doves). Warp and weft: linen. Woven label: Sylvi Salonen*. Design: Tuula Jarvinen. 21.5′ x 21.5″ (with frame).

I bought this weaving at a local thrift store, perhaps 15 years ago. I liked the way the birds were abstracted into a graphic design, with their rounded lines juxtaposed against a linear background, even though the colors seemed a bit dull.

*Anita Jain, a Finnish-American textile artist, added information about the pieces, including the English words for the titles of the transparencies. Sylvi Salonen is the name of a handcraft store in Turku. It was started by Sylvi Salonen in 1927, was later run by her daughter, Riitta Suomi, and is now operated by Riitta’s daughter, Sanna Suomi.

See more treasures in Part One of this article.

50 Years of Folk Art at Vesterheim

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By Laurann Gilbertson

Exhibition: 50 Years of Folk Art

Vesterheim Norwegian-American Museum in Decorah, Iowa, is celebrating 50 years of folk art, through classes, the National Exhibitions of Folk Art in the Norwegian Tradition, and tours to Norway. To mark this important anniversary, Vesterheim has created a special exhibition to share at least a few of the stories of 20 folk art tours to Norway, 90 Norwegian teachers, 145 American teachers, hundreds of class topics, and hundreds – if not thousands – of students between 1967 to 2016.

What is Folk Art?

Folk art is simply art of the people. American folk art is often defined as the work of self-taught artists, artists who have not had formal artistic training. It can be “outsider” art, created by artists who have had little contact with the mainstream art world and who may be expressing unconventional ideas or spiritual visions.

Folk art can also be defined as global art, fitting closely to local traditions. At Vesterheim, Norwegian folk art typically refers to useful objects created and decorated using local materials by individuals of a particular, often rural, region of Norway between 1600 and 1900. These objects and techniques usually expressed regional aesthetic and styles and were borne of traditions developed over several hundred years. The craftspeople that made these items typically learned their trades informally or through apprenticeships. The objects they created needed to be functional and beautiful.

What is Tradition?

Tradition is a repeated pattern of behaviors, beliefs, or objects passed down from one generation to the next. We follow traditions because they mean something to us. Traditions change through time and evolve with the availability of resources, forces of nature, personal taste, political or religious ideas, and foreign influences. All traditions change. But how far can they change?

Can an object made today be called traditional folk art? The artists of the eighteenth century didn’t have commercially-spun yarn, chemical dyes, circular knitting needles. Can an object made using these things be called traditional folk art?

Vesterheim often uses the phrase “in the tradition” to describe objects made today that are based on or inspired by historical examples. As long as there is a strong visual connection, it seems acceptable to change to the material OR technique OR medium. Too many changes, however, and the piece is no longer recognizable as having been part of the Norwegian tradition.

Folk Art and Vesterheim

Vesterheim began in 1877 as the Luther College Museum and folk art was part of the collection from the very beginning. Norwegian immigrant materials, including folk art brought from Norway, became the official focus of the collection by 1895.

In 1964, Luther College hired Marion Nelson, an art historian, to catalog the collection. He soon became director of an independent, world-class Vesterheim museum. Nelson was passionate about folk art and saw the collection’s potential to educate artists interested in Norwegian folk art. Nelson launched the Folk Art School and National Exhibition of Folk Art in the Norwegian Tradition in 1967.

Weaving was added to the National Exhibition, an annual judged exhibition of folk art in the Norwegian tradition, in 1981. A jacket woven by Marie Nodland of St. Paul, Minnesota, won a blue ribbon that year. The diamond twill reverses to rya (pile weave) and there are handknit collar and cuffs.

While Nelson was interested in folk art as an academic, he did not create folk art himself. His wife, Lila Nelson, was an accomplished weaver and textile artist who would go on to teach many textile classes at Vesterheim in her capacity as textile curator.

The opportunity to study and practice of folk art is also offered through tours to Norway. The first tours, starting in 1970, provided a folk art focus while traveling. Since 1978, tours often included hands-on workshops with local artists as instructors.

Students learned Telemarksvev in the weaving class during Vesterheim’s first hands-on Folk Art Tour to Norway in 1978. The teacher, Elsa Bjerck, is standing in back, second from the right. Lila Nelson, the museum’s Textile Curator, is second from the left.

Fiber Arts at Vesterheim

A wide range of fiber classes have been offered at Vesterheim, from embroidery, knitting, nålbinding (knotless netting), spinning, loom weaving, bandweaving, sheepskin printing, and basketry.

Oline Bredeli of Molde, Norway, taught weaving and working with teger, birch or spruce root, in 1982 and 1990. Canadian artist Karen Casselman’s specialty is historical plant dyes. She taught dyeing at Vesterheim in 1997, 2002, and 2005. For this placemat, she used korkje, a Norwegian dye made from fermented lichens.

Fiber arts have been at the core of Vesterheim’s Folk Art School since 1967 when Carola Schmidt taught the first class in hardangersøm, a cutwork and embroidery technique from the Hardanger region of Norway.

Grace Rikansrud, a nationally recognized expert on Norwegian needlework from Decorah, began her two decade teaching career in 1970. Rug hooking was also added in 1970, along with the first weaving course taught by Lila Nelson, Vesterheim’s registrar and textile curator. Nelson gave students an overview of Norwegian weaving by focusing on traditional coverlet techniques, which continues to be a focus of weaving classes today.

Vesterheim hosted a rug hooking camp for many years and rug hooking was part of the National Exhibition from 1970 to 2005. Now independent, the Decorah Rug School continues to meet each summer for classes. Marianna Sausaman (West Lafayette, Ind.), Esther Miller (Decorah, Iowa), Anne Duder (Decorah, Iowa), and Dorothy Huse (Chippewa Falls, Wisc.) have directed the rug school.

The first weaving class with a Norwegian instructor was in 1978. Elsa Eikås Bjerck, from Jølster in Sunnfjord, taught tapestry and bandweaving at Vesterheim. An important weaver in her own right, Bjerck is known for traditional and contemporary textiles, monumental works for public buildings, and church textiles.

Elsa Eikås Bjerck was the first Norwegian instructor to teach weaving at Vesterheim. In 1978 she also taught weaving on a Vesterheim folk art tour to Norway. This piece replicates an early bed pillow from Jølster in Sogn, Norway, in plant-dyed wool on linen. The mittens were done in nålbinding, an ancient looping technique.

What has always set Vesterheim’s Folk Art School apart from other visual art and fine handcraft programs is the focus on historical objects – the collection – that can inform and inspire. Most classes at Vesterheim include a guided visit in the museum galleries or look at the depth and breadth of the collection in the museum’s storage facilities.

The Future of Folk Art

What does the future look like for Norwegian folk art in America? Are traditions going to live another 50 years?

Some say that the future of folk art looks bleak. With each generation we are further and further from the original practice of folk art. What meaning can folk art hold for the sixth, seventh, or eighth generations?

Others say that the future looks bright. No matter how Norwegian you are (and even if you are not Norwegian at all) you can find enjoyment, fulfilment, and meaning in learning and practicing skills that are rooted in the past. The beauty and pleasure of creating is not dependent on a time period, an ethnicity, or a language.

“50 Years of Folk Art” is on view at Vesterheim Museum in Decorah, Iowa, through April 23, 2017. The exhibition was made possible by the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs, and the National Endowment for the Arts; Veronna and John Capone; Ron Hovda; and additional support.

John Skare, Bricelyn, Minnesota, in the exhibition. Handwoven rya wall hanging, 1987. “Mona took this photo of the kids and me by my rya weaving that the Vesterheim purchased in 1987. I remember Marion Nelson relating this piece to the ryas that were placed in the bottom of the long boats. Perhaps my heritage was creeping into my artworks without my knowledge. I hadn’t seen this piece since 1987. A reunion for me with one of my creations. A bit emotional. I like this piece. It was created with handspun wool yarns and wool blankets scraps from the Faribault Woolen Mill. Wool carpet mill ends where used for the weft. The weft ends have been wrapped. I know this artwork’s DNA quite well. An old friend with a good home, the Vesterheim.”

Laurann Gilbertson is the Chief Curator of the Vesterheim Norwegian-American Museum and a tireless promoter of Scandinavian textiles.

November, 2016

Weaving on the Ceiling: A New Exhibit and Installation at the Osterøy Museum

Spring 2016: Much Planning was Underway

The idea came during a lunchroom discussion with the exhibit architect, who had done something similar in the past.

I wanted to have something that would begin on the ceiling and come down over the end wall.

The background was that the permanent exhibits at the museum were being renovated. I wanted to have more focus on traditional knowledge tied to objects in the museum; it should reflect the traditional skills and knowledge of the people of the Osterøy community. The people on Osterøy are enthusiastic and full of initiative, and there are many large and small businesses.

The monster-weaving part of the project was a collaboration among Solveig Jordan, the head of our division; Dennis Guhl, our carpentry specialist; Nikolai Rypdal Tallaksen, our archivist; Monika Sunnanå Ravnanger, my weaving student; and me, with responsibility for the textile department.

Dennis has many contacts among local businesses. They made the steel supports and a frame to surround the weaving, according to Dennis’s instructions.

It took a long time to find the straps that would act as the warp on the ceiling, and we ended up ordering from a company in the Oslo area. They had the red color we wanted, and also green and yellow. The straps are five centimeters wide and came in 50 meter rolls. They are straps for life vests for boats and seat belt strapping. When we ordered 25 kilometers of strapping, the supplier was quite curious about what we were going to do with it.

I started the setup after Dennis attached the steel supports to the end wall and three places on the ceiling. As it showed in the photo in the newspaper, we used scaffolding to get high enough to lift each strap over the supports. A sewing machine sat on a rolling table in the room, and I moved it each time I needed to join the straps.

It was one thing to put the straps in place, but they also needed to be pulled tight. Nikolai and I stood on scaffolding on either end to lift the straps around the steel supports, and Dennis ran back and forth on the floor and tightened.

After all the red warp straps were tightened, 66 in all, it was time for weaving. I started down on the ground, but quickly came high enough to need the scaffolding.

The pattern we used was taken directly from an åkle (coverlet) that hung in the exhibit in the room. Between each strap we wove two shots of plain weave with fishing line, which was thin and strong and transparent and held the straps in place. Each square in the pattern is 10 by 10 cm. It took Monika and I about two days to weave/work in the pattern. There is, of course, no shed in this weaving, which is why I added “work in.” Our hands were quite sore after a while.

The red color on the ceiling has a dominant effect in the exhibition hall; the monster-weave installation brings together the old and the new in the exhibit. It illustrates the old themes, such as weaving and metalwork, in a new context.

For this installation there was a determination to work on the project together. Everyone was in on the discussion, and then it was Dennis and I who figured out how we could execute the ideas.

To make it work required a lot of mathematics and stretching out of the pattern. It’s difficult to describe how much mental effort it took; it followed me for many weeks. There were constantly small adjustments to air with the others. And it was just because we had so many contributors, that the project had such a great result.

The plan is that we will weave several motifs on the ceiling, which will last until sometime this winter.

Note: See additional photos in an article by Snorre Bang Utaker from Bygdanytt, “Eit vevemonster har inntatt Osterøy museum,” (A Monster-weaving has Taken Over Østeroy Museum). And if you would rather read the article in the original Norwegian, see below!

Veven i taket: Ny utstilling og installasjon på Osterøy museum, våren 2016

Mykje planlegging.

Ideen kom i ein diskusjon på lunsjrommet saman med utstillingsarkitekt som hadde gjort noko liknande før.

Me ville gjerne ha noko i taket som kunne enda nedover på endeveggen.

Bakgrunnen var at heile den faste utstillingen vår skulle fornyast. Me ville ha meir fokus på tradisjonskunnskap knytt til samlingane på museet; det skal gjenspeila Osterøysamfunnet og dei praktiske kunnskapane og ferdigheitene folk har hatt. Her på Osterøy er det eit stort privat initiativ, mange gründerar og småbedrifter.

For å knyta dette direkte til monsterveven er det og eit samarbeid mellom Solveig, dagleg leiar, Dennis handverkaren vår, Nikolai, arkivaren vår, Monika, vevlærlingen min og meg som tekstilansvarleg.

Dennis har god kontakt med dei lokale bedriftene her. Dei laga stålstenger og ramme rundt sjølve det vovne partiet etter Dennis sine mål.

Me brukte lang tid på å finna stropper som skulle fungera som renningstrådar i taket, og enda opp med å bestilla frå eit firma i Oslo-området. Dei hadde fyrst og fremst raudfargen, men og den gule og den grøne. Stroppene er 5 cm breie, dei kom i rullar på 50 meter. Det er eigentleg stropper til redningsvestar i båt og sikkerheitsselar i bil. Då me bestilte 25 kilometer av dette, var leverandøren veldig nysgjerrig på kva me skulle bruka det til. Me starta monteringa etter at Dennis hadde festa stålstengene til endeveggene og på tre plassar oppe i taket. Som det viser på biletet i avisa brukte me gardintrapp for å koma så høgt at me kunne lyfta kvar stropp over stålstengene.

Symaskinen stod på eit trillebord i salen, så flytte me den etter kvart som me måtte skøyta stroppene.

Ein ting var å få stroppene på plass, men dei måtte og strammast etter kvart. Då stod Nikolai og eg på stillas i kvar vår ende av den 25 meter lange salen for å lyfta stroppene rundt stålstengene, og Dennis sprang att og fram nede på golvet og stramma.

Etter at alle dei raude renningsstroppene var festa, 66 i alt, var det tid for veving, etter kvart også på stillas. Eg starta nede på golvet, men kom fort opp så høgt at eg trengde stillaset.

Mønsteret som er brukt er plukka direkte frå åkle som heng på utstilling i salen. Mellom kvar stroppe er det to innslag i lerret med fiskesnøre, det er tynt og sterkt og gjennomsiktig, og held stroppene på plass. Kvar rute i mønsteret er 10 x 10 cm. Det gjekk eit par dagar for Monika og meg å veva/fletta inn heile mønsteret. Det er sjølvsagt ikkje noko skille i denne veven. Difor skriv eg veva/fletta. Me vart faktisk ganske såre på hendene etter kvart.

Den raude renningen i taket er eit nokså dominerande innslag i utstillingssalen vår, den er som ein installasjon som bind saman det gamle og det nye i utstillingen. Den belyser gamle tema, så som veving og metallarbeid sett inn i ein ny samanheng. I tillegg kjem viljen til å gjera dette saman. Alle var med i diskusjonen, og så var det Dennis og eg som måtte tenkja ut korleis me kunne gjennomføra ideen.

Det ligg mykje matematikk bak og utrekning av mønster for å dette til å stemma, og det er vanskeleg å skriva om tankearbeidet som var nødvendig. Det fylgde meg i mange veker, det var stadig små justeringar å lufta med dei andre. Nettopp det at me var såpass mange om arbeidet gjer sitt til at det vart så vellukka.

Planen vår er at me skal veva inn fleire motiv i taket. Det vert til vinteren ein gong.

Marta Kløve Juuhl

Norwegian Textile Letter

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