NOVol. II No.4

~ GIAN LETTESeptember, 1996

NORWEGIAN WEAVING IN AMERICAfrom the Andrew A. Veblen papers, Minnesota Historical Society

In Volume 43 of THE VEBLEN FAMILY, IMMIGRANT PIONEERS FROM VALDRIS, Andrew AVeblen (brother of the famous economic theorist Thorstein Veblen) described the weaving done by hismother after the Civil War. The family immigrated to Wisconsin in 1847. His memoirs help documentthat weaving in the Norwegian tradition did continue among the immigrants.We pick-up the story midstream on page 60 with Andrew's description of the equipment needed forweaving.

Reeds were obtained from Norway, at first, at all events, by getting immigrants to purchase them there

and bring them with them. Reeds had to be spaced, or graded, for the different spacings of the warp; and

naturally it took a large number to fit the varieties of weaving to be done; so that there were dozens-of

them in mother's outfit. As I remember it, it was not until the close of the civil war, that they got in

touch with American concerns that could supply acceptable reeds.

All the harness used was made by hand, by tying twine on a form made out of a board, called a lwv01d-

fj01 (harness-board). The harness had to be made with great care, each harness tied with three double

knots, and under equal tension, else the shuttle would have an uneven floor of stretched warp-threads to

travel over, with chances ofmaking mis-weavings in the web.

Another part of the weaving outfit were several reels to hold the skeins of warp during the process of

reeling the warp on the large reel, preparatory to winding the warp on the back cylinder of the loom, from

which the warp was paid out in the process of weaving. There were two of these, in particular, that were

made of a large number of sticks joined, three and three, at the ends in a peculiar arrangement, ofwhich I

have seen no specimens other than such as were brought from Norway. One of these father had made

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before their emigration. The other he made inManitiwoc County. There were usually four ofthese small reels used in filling the large reel.It is thus seen that a complete weaving outfitinvolved a large number of parts. First there werethe three spinning wheels. The large collapsiblereel, with the four small reels, one of which wasmade so as to be convertible into a skeining reel, toskein the yam spun on the spinning wheel. Thenthere was the loom, a fairly intricate machine,made in knock-down manner, so that it could betaken down, when not in use; and all its parts hadto be made with great exactness in order to worksmoothly. There were the supply of reeds, ofwhich there were at least two dozen. Then theharness, one complete set of which sufficed for thedifferent varieties of weaving; but which in timehad to be~ replaced, as it wore out. There was theharness-board on which the harness were made by

'tYing. There were the shuttles suited to differentgrades of coarse and fine weaving. Finally, therewas an instrument called spj01k in Valdris, whichwas adjustable to the width of the web, and whichserved to keep the woven web stretched, to aneven width, as it was made up stroke by stroke bythe reed.It is seen that a complete outfit for doing all sortsweaving, from carpets to all-wool frieze was asomewhat formidable affair. Not many womeneven in the Manitowoc Valdris settlement, hadlooms; though they were doubtless all trainedweavers from home. I am very sure, there was nooutfit in the county that was as complete asmothers. All, but the reeds and spinning wheelshad been made by father. In the outfit should bementioned a particularly well-made reel forwinding yam from the spinning-wheel spools intoskeins, the "hespetre" which had been made byfather, and made in his best workmanship. It wasof course convertible, by placing the reelhorizontally, into a reel from which skeins could beunwound, in filling bobbins for the shuttles,winding yam into balls, reeling it unto the largereel for the loom, etc.Much of the weaving was done to produce clothfor various uses that needed to be only part wool,and for which cotton warp was bought. But theproduction of Norwegian frieze, which was allwool, represented the most formidable task in

mother's weaving. First, all the warp and the wefthad to be spun, to the proper standard of finenessso as to produce fabric of the required weight.The spinner was expected to feel between herfingers just how fine the thread should be. Therewas also the question of giving the right twist tothe thread in order to give the fabric the rightdegree of softness. In short, the spinner had tomake the yam just right to meet ultimaterequirements in the cloth. Also differentcharacteristics were demanded for warp and weft.I remember that there was a twist called "vefta­snu" for the weft, and a ''varp0-snu'' for the warp.One required the spinning-wheel to revolverighthandedly, the other the opposite. I can'tventure to say which was which. But I ampositively sure these terms were used.Of course most yams and fabrics had to be dyed;and an adequate description of the dying processespractised by mother would require several pages.This was an art in which properly trained youngwomen immigrants were expected to be trained,educated, in fact. Knowledge of the various dye­stuffs, as indigo, cochineal, logwood, etc., and theprocesses of their preparation, and at last theprocess itself of application, all had to be knownminutely and accurately. There were nohandbooks with set, printed rules.The frieze, ''vadmel'', or ''v0dmaal'' (in Valdris),was as a rule woven white, or undyed, unless itwas made from black wool. After it was woven ithad to be fulled, to develop the nap whichcharacterizes the stuff This is usually done in astamping mill. There were no such mills available,and stamping mills were too formidable to be builtfor the uses of a single family or even a limitedneighborhood. The production of frieze was notpractised generally by the settlers. They got alongwithout. But mother was not satisfied to makeclothes out of ordinary stuff that could be bought,because it did not have the strength of what shecould weave herself.So, the fulling of the frieze had to be done by hand,or, properly speaking, by foot. Any working of thecloth, especially in wann water, would full it.Rolling or twisting newly knit mittens, of wool,would full them and make them more substantial;and this was done by hand, on a corrugated surfacesuch as a common wash-board. Woollen mittens

continued on page 9

Ann Haushild ofSt Paul, MNwon a red ribbon for herrunner in the rutevevtechnique at VesterheimNational Exhibition of~Veaving in the NorwegianTradition.

Vesterheim's 15th National Exhibition of Weaving in the Norwegian Traditionwas held during Decorah's Nordic Fest on July 26-28. Pirkko Karvonen,* weavinginstructor from Edmonton, Alberta; Betty Johannesen,* Vesterheim Gold Medal weaverfrom South Bend, Indiana; and Doug Eckheart, art professor at Luther College inDecorah, Iowa judged ten weavings. The Blue Ribbon was awarded to Wynne Mattila ofMinneapolis, Minnesota for "Spring Meadow," a krokbragd rug. Red Ribbons went toAnn Haushild* of St. Paul, Minnesota for a runner ill the rutevev technique and JanMostrom* of Chanhassen, Minnesota for a wall hanging in the rutevev technique.Gudrun Linden of Great Falls, Montana won a White Ribbon for "Colors ofBryceCanyon," a skillbragd wall hanging.

The judges awarded three Honorable Mentions: "Damask Moon," a wall hangingby Elinor Riccardi of Tallahassee, Florida; a framed piece by Norma Smayda* ofSaunderstown~Rhode Island) that combined Finn weave and monk's belt; and a pilIo"\N inthe rutevev technique by Wendy Stevens,* Decorah, Iowa.

In addition to the ten judged pieces, five weavings submitted by Gold Medalistswere considered for the Handweavers Guild of America/Best of Show Award. Thataward was given to Wynne Mattila for "Spring Meadow." Visitors to the exhibitionvoted on their favorite piece. Jan Mostrom* took home the People's Choice Award forher rutevev wall hanging.

Ribbon winners received points (three for a blue ribbon, two for a red, and one fora white) toward a higher award. After eight points have been accumulated, the weavers ispresented with a Gold Medal. Medalists are the finest weavers working in the Norwegiantradition in the United States today. All American and Canadian residents are invited toenter their weavings in the Exhibition. It is an excellent opportunity to learn and shareand compete in our specialized field. Thank you to everyone to entered andcongratulations to those who won awards. (Norwegian Breakfast Club members areidentified with an asterisk behind their name).

For more information on Vesterheim's National Exhibition of Weaving in the NorwegianTradition, contact Laurann (Figg) Gilbertson, Vesterheim, 502 W. Water St., Decorah, IA52101 or (319)382-9681.

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This combination ofMonk's belt and double weave pick-up.by Norma Smayda of Saunderstown RI received anHonorable Mention.

NBC IN PORTLANDLUaNelson

The third meeting of the NBC (NorwegianBreakfast Club), which took place at 7:00-8:00a.m. on Friday, July 19, in Portland's ConventionCenter during Convergence, again overflowed theroom provided. Through misunderstanding, a finalConvergence announcement indicated that all whowere interested could attend, with a result ofdouble or more people than the 25 pre-registered.My thanks to Norma Smayda for her willingness totake notes of the proceedings. After reviewing ourstated· goals and accomplishments since ourbeginnings in 1994, I asked that people break upinto groups to discuss major issues of concern,'chief among them being the upcoming TextileConference in Decorah in October of 1997.

Some of the suggestions regarding the conference,which were recorded by Kay Larson, included thefollowing, not in the order of their importance:

• Workshops with hands on as well as scholarlyconcerns, including such traditional Norwegiantechniques as skillbragd, finnvev, Merakervev,tapestry, weaving for clothing, and ragweaving. Nalbinding, bobbin lace, andHardanger embroidery were also suggested, aswell as fabric analysis.

• Informal reports or show and telL Referencewas made to the tapestry groups' format,which allows for 5, 10, orIS minutepresentations controlled by a moderator withinformation on 3x5 cards provided bypresentors.

• Luncheons with pre-stated discussion subjects.Theses could possibly be self-generated ratherthan pre-assigned.

• Study groups with shared ideas organizing forfuture work.

• A non-juried show, held in a classroom, withcontributions from the group.

• Diane Halbeck suggested a WWW site forNBC, the conference, reading lists,translations, and the like.

From the group discussing. translations came thedonation of three translated articles offered by JoanNilsson, all of which sound valuable and ofpossible interest for future NBC issues. They willbe entered into the Vesterheim archives. HarrietMitiguy knows of a possible translator, and TuiHedstrom could translate from the Swedish. NoelThurner has some Norwegian books available andJune Hanson will check into importing books fromSweden. The importance of textile dictionarieswas discussed and several were mentioned.

The group discussing future newsletters has anumber of suggestions for subjects:

• Information on what distinguishes traditionalNorwegian.

• Share old patterns and include clarification ofinformation appearing in old books.

• Include cultural information and go beyond justweavIng.

• Include the phonetic pronunciation ofNorwegian words.

• Include information on fabric analysis, perhapsby having a fabric analysis workshop andpublishing the results.

Other general information from the meetingincluded the following:

• Kay Larson's book on Norwegian coverletswill hopefully by available by the time of theconference ifnot sooner.

• Sonja Berlin has written a book on cardweaving and will hold a card weavingworkshop October 18-20, 1996 at the NordicHeritage Museum in Seattle.

• Helena Hernmarck has 4 tapestriespermanently in Atlanta, Convergence 1998.

It was a pleasure to note the ongoing interest in theNBC (11 new members signed up!) and I thank allof you in attendance for your patience with thecrowding and for the excellent discussions thatresulted in the short time provided. Immediatelyafter the meeting I talked with the AtlantaConvergence people about plans for 1998 andrequested pre-registration and payment so thatadequate room can be assured. I also talked aboutthe possibility (which was brought up at themeeting) of having a pre-registration seminar aswell as a breakfast. They were somewhat doubtfulof managing two time periods but suggested atwo-hour breakfast, which they thought would beworkable. All activities will, as in Portland, be in acentralized area, so little time will be needed ingetting from one event to another.

An Honoable Ailention went to Wendy Stevens of DecorahlAfor this pillow in the rutevev technique.

NOTES FROM LILA

Noel Thurner shares an article, "Husflid Imotvind," dated September 16, 1995, from UKEADRESSA, a newspaper published in Trondheim,in which Berit Amundsen, director of Husflid, wasquoted expressing grave concern for the future oftraditional crafts in Norway. She says that theskills are being lost because there is no time topractice them, children do not see their mothersknitting or doing other textile activity, and teachingthese crafts in the elementary grades is no longerpart of the education curriculum. She feels thatHusflid must concern itself with who will teachthese crafts and who will keep them alive.Amundsen expressed these views at a meeting of175 delegates to Norges Husflidslag, a societywhich began in 1910 and now numbers about20,000 members.

MORE ABOUT WEAVING IN NORWAY

Ingebjorg Vaagen of the Norges Husflidslag in aletter dated March 14, 1996 writes as follows:"Weaving has been on an ebb in Norway over thelast ten-fifteen years, however we see that the

continued on page 10

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Jan Mostrom's (Chanhassen MN) wall hanging in therutevev technique was awarded a red ribbon and People'sChoice Award

Norma Smayda reports that the Suffolk county HistoricalSociety in Riverhead, NY, holds the Emily Talmage collectionof Scandinavian weaving books (mostly Swedish but someNorwegian and Danish also). They are not a lending librarybut they will photocopy and do some research, and it is easyto work in their archives. David Kerkhof, Librarian (300West Main Street, Riverhead, NY 11901 (516 727-2881) sent metheir Norwegian listings:

745.058JO

745.058MO

745.449481VR

745.058

745.058HA

746.149481HA

746.149481HU

746.149481TR

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Jornung, Manny MuleVaevemonstre for aIle slags vaevWeaving Patterns. Norwegian. 1952

Mortensen, SolveigBrikker og dukerWeaving Patterns. Oslo, Norway. 1958

Vreim, HalvorNorwegian Decorative Art Today.Oslo. Fabritius & Sonner. 1937

Delen, AndraPraktisk VavbokWeaving Patterns. Vol. I & II. Norway. 1926

Haugstoga, SigneSa Vever VI - mobelstoff og puterWeaving Patterns. Oslo, Norway. 1952

Halvorsen, CarolineHandbok i VevningOslo, Norway. J.E. Coppelens Forlag. 1934

HUsflidsforenings, Den NorskeHandbok i VevingOslo, Norway. J.E. Coppelens Forlag. 1951

Jeg En Vev Lager TilRagnhild TraettebergOslo, 1952. Norwegian Weaving

THE AMAZING RYABetty Johannesen

When I began to research the rya, I was lookingonly for material relating to their use in Norway. Icould find little information except for the accountby Janice Stewart in THE FOLK ARTS OFNORWAY. This material, therefore, covers theiruse in all of the Nordic countries. I believe thatyou will agree with me that this noble textile has aglorious history.

THEEARLYRYAThe origin of the rya is lost in history. Its structureis similar to that of the Oriental rug. The Orientalcarpet, however, has always been placed on thefloor with the pile uppermost to be sat upon. TheNordic rya was used on beds and in boats, as anitem for warmth.

In the Nordic countries the rya has been woven formore than half a millennium. It is believed that itwas probably first used in Sweden and from therespread to both Norway and Finland. The early ryamay have been a luxury article reserved for theprivileged few, which would point to foreigninfluence.

By the 15th century, the rya was in use in castles,convents and the wealthier homes. As early as1420, a rya together with a piece of white wadmaland a sheepskin is listed as the required bedclothesfor members of the Bridgettine order for VadstenaConvent in Sweden. In 1429 the Norwegianbishop Aslak Bolt had two bed rya among thefurnishings he brought with him to the diocese ofNidaros (Trondheim). In Finland, there is anaccount of rya being given in part payment forbuildings on two occasions during the fifteenthcentury. These accounts would suggest that ryawere being produced on a considerable scale.

BEDRYAThese early rya were of the practical type. Theywere soft and warm. In all of the Nordic countries,the rya was used with the pile side next to the bodyfor warmth. The pile side was the bottom orreverse side, while the plain side (ground weave)

was the top or right side. The ground weave ofsuch a bed rya could be woven of wool, cotton,linen etc. The pile might be of the same material asthe warp or it might include rags, fur or whateverthe weaver had available.

In the Norwegian rya, wool was used for at leastone of the ground threads; often both the warp andweft were wool. The weave structure could beany type of pattern including twills and doubleweave, the most popular structure being variationsof birdseye. While the early rya was constructedwith natural colors, wide colored bands, eitherlengthwise or crosswise soon evolved and becamecharacteristic of the district in which the rya waswoven. In Gudbrandsdal, the stripes in both theground and the pile were lengthwise. The Sognrya usually was woven with a lengthwise stripeddiaper weave and cross-striped pile. Tn~ndelag

used a twill ground with checks, stripes or maybe adate worked into the pile. In some districts ragpile was popular. Sometimes the rags were used ina hit and miss fashion or they might be used forstripes or borders.

The ground weave of the Swedish was usuallywoven in one of three structures. The first type isa narrowly striped weft-faced fabric in which thepile knots are visible on the ground side in strongrelief The second type is a goose-eyed (lozenge)linen twill with the pile knots invisible on theground side and the pile in colored stripes orchecks. The third type is made of the samematerials as the first two but woven in ribbedtabby. On the first and third type of rya, the knotsare important as part of the design on the ground.The knots are arranged to form lines, lattice workor figures.

The head-end ofthe Swedish bed rya was generallymarked with a border. This border might consistof checks, crosses, diamonds or other patterns.Sometimes finer wool was used at the head-end.This would be folded back to show when the bedwas made. Bed rya lacking an indication for thehead-end is usually of a more recent type. The

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PIearly rya is usually woven in tWo sections andseamed together. These rya measure five to sevenfeet by four to six feet.

By the 1600's the Norwegian rya was found ineven the most humble home. In Sweden, theywere being replaced by feather bolsters and quiltedcoverlets. The ancient practical rya was evolvinginto a decorative coverlet The knotted side nowbecame the side to be shown.

BOATRYASoft, warm practical rya was known in westernNorway as boat rya. The women of the coastalregion spun the long, smooth and wiry fleece of the

. local primitive breed of sheep. The wool wasloosely spun, which when used undyed, formed apile that looked much like fur. Sometimes this ryawas checked in large squares, sometimes it wasstriped but it was always made of dark naturalwool. The ground web was also of wool but of aninferior quality. This had a great advantage, whenused by the fishermen at sea, over the animal fursformerly used for warmth. It could withstand thewet without becoming stiff and unmanageable.

'Bat rye', ('fisherman's rya' or 'sailor's rug') was stillbeing made and used in the early years of thiscentury by seagoing people along the coasts ofFinland, Sweden and Norway.

20TH CENTURY RYAToday the rya is used as a floor covering, or wallhanging. It is found in all strata of society and hasno regional ties.

ReferencesStewart, Janice S., liThe Folk Arts of Norway,Dover Publications, Inc. 1972Geijer, Agnes, "A History of Textile Art", SothebyParke Bernet, 1982Nylen, Anna-Maja, "Swedish Handcraft",Berlingska Boktryckeriet, 1976

MORE ABOUT RYALila Nelson

Just a brief footnote to Betty's article about theamazing rya. Back in the 1970s I made a muff ofrya, using the pile side for the inner section and adiamond twill for the outside. After hearing memake many empty promises to produce a cape inthe same technique, my friend Marie Nodland ofSt. Paul asked if I minded if she tried her hand at it.The result was not a cape but a far moreimpressive object, a reversible jacket with enoughwarmth to dispeU a Minnesota winter andattractive besides. Marie sold me the jacket and,when Vesterheim held its first Exhibition ofweaving in the Norwegian Tradition, I got herpermission to enter it in her name. The result istextile history. Marie's jacket received the firstblue ribbon in the first of those exhibitions, whichcontinue to the present day; and it is nowcatalogued into the museum textile collection.

The Best of Show HGA Award for the 1996 NationalExhibition of weaving in the Norwegian Tradition atVesterheim Museum was Wynne Matilla's (Minneapolis.MN) "Spring Meadow JJ krokbragd rug.

continuedfrom page 2

and socks were often fulled in this way, by hand, inorder to give them softness and substance, toincrease their warmth and strength.But a piece of woollen cloth of several yards'length could not easily be manipulated in this way.So it was stamped by the feet. Sometimes themen, father and Haldor, especially when the winterweather was too bad for outdoor work, wouldstamp such cloth. It would be placed in a tub witha quantity of warmed water, and the operatorwould work the bundle by standing on it andtrampling on it, giving it any rolling motion that theprocess called for, and he knew how to give.After the fulling process the frieze was usuallydyed; and the cutting and sewing of all the workingclothes that the two men used, down into the yearsof the war, was done by mother. She spun, wove,dyed, cut, and sewed the clothes for us children,though not of frieze for us. Until after we hadmoved to Minnesota, I had not worn trowsers orcoats that mother had not produced out of woolgrown on our own sheep.She had a reputation for such skill in weaving, thatIrish and Americans came from distant parts of thecounty, bringing yam out of which she wove clothfor them. And for such waving she consented todo, they paid her very good prices. In fact, she didnot encourage people to bring her work of thiskind; and charged them good, stiff prices. Fatherused to remonstrate against her doing so much ofit. I remember once that an Irishman living morethan 15 miles away, paid her for a piece of weavinga sum that the folks afterward estimated wouldhave bought him more yards of standard woolenblanketing at the store.The weaving was not confined to cotton and wool;for she wove toweling of homespun flax. Wegenerally had a patch of flax. Thread spun fromflax was used in sewing things that were subjectedto the roughest use, like the leggings the men worein the snow, while clearing land, and other work inthe timber.The preparation of the flax for spinning involved aseries of processes. First the ripe flax was pulledup by the roots, which was not difficult, since theroots had become brittle and weak. A piece ofsmooth meadow with second growth of grass wasselected; and flax was spread out in light rows, tolie and rot the woody stalks. When, in a few

weeks' exposure to the weather, the stalks hadbeen rotted sufficiently, The rows were rolled upand tied in neat, small bundles, and dried in thesun. Next, the seed was threshed out with flails.The stalks were then roasted near and open fire tillthey became brittle. If small quantities were to bespun, this roasting might be done before one of thefireplaces'; but for large quantities the flax wasspread upon a platform built open of poles. Underthis a fire was built, taking care that it did not bumwith much flame. The hot air and smoke, passingup through the spaces in the top, then roasted thestalks and rendered them brittle for the nextprocess, the Breaking of the flax. For this anupright plank, with a sharpened edge was used.Across this edge, which of course lay horizontal, abundle of the roasted flax was held by one hand,while the bundle was beaten by a cudgel in theother hand, until the woody part of the stalks wasbeaten up into small fragments, some or most ofwhich fell out during the breaking.The fragments of the stalks which were stickingamong the fibres of the stalks, were combed out inthe next process, of Hackling. The hackleconsisted of an array of upright sharp pointedwires of several inches across. By drawing thehandful of fibres through the hackle, the fibreswere cleared of fragments of stems, and became afine, fluffy mass of linen fibres, ready for thespinning. A few such hackled bundles were tiedabout an upright rod standing up from thespinning-wheel head; and the spinning was donefrom this mass, the spinner drawing out the rightamount of fibre for the rate at which the spindlerevolved.It is seen that even for the simple operation ofproviding a little flax for thread and for toweling, aspecial equipment of implements was required, anda series of processes was involved. Curiouslyenough, such a roasting platform of open pole-roofhad been erected on the farm of Lars Kjara, a mileor so south of us, in a most peculiar naturalformation. There was there a fault in thelimestone, which there came to the surface. Thefault left a perpendicular wall of rock some six toeight feet in height. From the upper level theplatform of poles had been built out, so that onecould walk out on the platform from the level ofthe upper ground, and spread the flax in place.

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Underneath, at the lower ground level was built theroasting fire. This served the whole neighborhoodfor the flax-drying. The roasting fire was largelykept up from the stalk fragments produced by thebreaking process that went on about the platformfor the best flax-breaking was done while the flaxwas still warm from the roasting.In time a great quarrying industry developed at thisspot; for it was found that the rock was a veryvaluable limestone formation; so that a railwayspur was run out from the near by station atValders, which in time was built by the railway,when it was laid.It is my impression that when we moved fromSheboygan County, no sheep were taken along. Ifwe had sheep the first year, they were disposed ofto give way to a new enterprise of father's; for Iremember well when he bought two ewes and aram of pure-blooded Spanish Merinos, and fromthis beginning developed a unique wool industry inthat community. For the ram he paid the unheard­of price of twenty dollars. The ewes were four orfive dollars each. The ram soon died of somedisease. It was found that a more serviceable woolwas produced by grades of merinos not pure ofblood. At the time of our removal to Minnesota, in1865, father sold his entire flock of a hundred-oddsheep to Mr. Gabriel Morbeck. They were half toa quarter merino grades.This Merino wool was, on account of its fineness,more difficult to card than coarser wool; and fatherused to take the wool clipping to a carding millsome distance away; and what he did not sell hebrought home carded ready for spinning andweaving. There was a ready sale of what surpluswool was produced on the farm. This high gradeof wool of course enabled mother to make asuperior quality of cloth on her loom.In all this weaving and spinning that mother did,she of course had help in the ordinary householdactivities and in the spinning; but it was rarely thatanyone other than mother sat in the loom andwove. It would be only as a rare exp~riment, sorare that I always noticed it particularly, because itwas uncommon. Any aid she got out ofher help inoperating the loom did not amount to anything,practically. Mother was, in fact, ever embarrassedby the plenitude of help at hand, which arose out of

the number of newcomers from the old homecommunity.Printed with permission from the MinnesotaHistorical Society.

MORE ABOUT WEAVING IN NORWAYcontinuedfrom page 5

interest are groving again and we really hope thatwe are moving towards anew interest for weaving.This development in Norway might be very muchdue to the enormous interest the knittwear industryhas been through over the last ten years. TheOlympic Games in Lillehammer in 94 was the peakof this development.

Classes within the weaving training has been closeddown. However, we can see that the interests forweaving are taking form of short time coursesthroughout Norway. In addition, the developmentwithin computer tecnology conserning weavingmight add to the interest and. the possibility forhigh class products."

MUSEUMS

Kunst-og Industrimuseet, S1. Olavsgt. 1, 0165 Oslo,textile curator: Anne Kjelleberg.

Norsk Folkemuseum, Museumsveien 10, 0287 Oslo,textile curator: Anne Karin Pedersen.

Vestlandske KunsindustrimuseUIl\ Nordal Brunsgt. 9, 5014 Bergen.

Bergen MuseUIl\ Mliseeplass 2, 5020 Bergen.

Textile curator for Hordaland County~

Inger Raknes Pedersen, Hordamuseet, Tekstilateliet, 5047 Fana.

Nordenfjeldske kunstindustrimuseum, Munkegt.5, 7013 Trondheimtextile curator: Randi Nygaard Lium.Pennanent exhibition: Tapestries made by Hannah Ryggen.

Regionmuseet, Strandgt. 8, 9007 Troms0.

In addition to the above museums, there are manyfine district museums with good collections.

FYLKE/NAVN

ADRESSELISTE - HUSFLIDSKONSULENTENE

PRIVATADR.{fLF.

AKERSHUSAnne Guri Gunner0d

0STFOLDNESTFOLDKari Thunces

BUSKERUDTove Gu/svik

OPPLANDAnne Grete Stuksrud

HEDMARKTone Kveim LAte

AUST-NEST-AGDERElin Gilde Garvin(Na3ring)

Paa/ Bergsvei 170692 OSLOTIt. 22 74 35 15

R0dveien1640 RAOE

Ask3500 H0NEFOSSTlf. 32 14 11 33

Sidse/ Sidserksvei 72600 LlLLEHAMMERTIt. 61 257242

Magnus Hamlandersv. 212400 ELVERUMTIt. 6241 31 51

, Fax. 6253 1948

Kr. Lofthusgt. 244790 LlLLESANDTIt. 37 27 25 56

HORDALANDTonje Holte

SOGN OG FJORDANETore Risnes

M0RE OG ROMSDALRandi Hole

S0R-TRI2JNDELAGAsbj0rn Myrenget

NORD-TRI2JNDELAGRandi Breiset

NORDLANDKaren Nilsen

Storhaug5227 S0RE NESETTIt. 55 30 53 95

Kongleveien 13 A6800 F0RDETIt. 57 82 65 26

Kirkebakken 276400 MOLOE

, TIt. 71 21 69 83

Heggveien 17560 VIKHAMARTIt. 72 59 07 97

Vuluvegen7563 MALVIKTIt. 73978017

Skifjord8340 STAMSUNDTlf. 76 08 6812

Kathrine Holmegard Bringsdal Stove/and(Ideell) 4530 Ho/um

Tlf. 38 26 72 32

TROMS. Karin Und 9465 TENNEVOLL

TIt. n 1751 78

TELEMARKIngebj0rg Vaagen Cam. Colletsvei 19

3700 SKIENTit. 35 52 11 97

FINNMARKKari Skadsem Bj0rkeveien 6

9900 KIRKENESTIt. 78 99 32 44

ROGALANDAnna Ha/sne Hannasdalsgate 48

4009 STAVANGERTIt. 51 524263

LEDER KONSUlENTTJENESTENTrine Thommessen Slemmestadsvn. 394

1390 VOLLENTIt. 66 79 88 37Fax. 66 79 88 37

OL.PROSJEKTET - N.lERINGRagnhild Maardalen Moseveien 3

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