COLLECTIONS mmigrant museums are dotted across North America, a reflection of the From Viking to patterns of migration, settlement and ties to the home country. A number Iof these museum collections tell stories of hope, pride, sadness and longing. Textiles Vesterheim are an important part of many such collections, and the Norwegian American Museum in Decorah, Iowa, provides a special example. Its Norwegian name, The Vesterheim Norwegian American Museum is one of Vesterheim or ‘western home,’ implies the many such institutions that record the life and stories of communities other, original home – Norway – and marks how important connections to one’s country before they made their journey to America of origin have been to immigrants. The number of Norwegian immigrants to North America was relatively small compared to other immigrant groups, but their influence and cultural memory outstrip actual numbers. They disproportionally married other Norwegian Americans, many living in close-knit rural communities and continuing to read and speak Norwegian. As the oldest and most comprehensive museum in the US devoted to a single immigrant group, the Vesterheim’s material culture collection is extensive, with textiles a vital anchor. Ritual cloths, folk costumes, knitted garments, woven coverlets, and embroidered items are included, both those brought to the ‘new country’ or sent by family from home, along with objects made by immigrants and their offspring. A 17th century bridal rug, densely embroidered with silk on twill weave wool, accompanied a young man from Norway in the late 19th century. The rug was passed down through his family and used in weddings. Rich floral embroidery – tulips, daffodils, iris, carnations – floats around a central medallion with initials and date, perhaps marking its first use in a wedding ceremony. Other ritual cloths, designed to ward off danger, were packed in trunks for transport As in many folk traditions, protective A bridal rug used by the Ravn to the new home. Infants were especially designs were also employed on clothing, family during weddings in vulnerable, and embroidered wraps especially around openings, to safeguard the Norway and the US, and inscribed VESTERHEIM NORWEGIAN HS WA HD 1675 . Similar 17th and decorated with protective symbols – zig- wearer. An 18th century blouse, part of a AMERICAN MUSEUM 18th century embroidered rugs 502 W Water St, Decorah zags, swirling swastikas, often in red or folk costume, has complex cross-stitch and called brudeteppe can be found Iowa 52101, USA alternating colours, intended to confuse evil pattern darning on the collar, continuing in Norwegian museums +001 563 382 9681 spirits – kept them safe. The same type of down the front placket and on the cuffs. 267 x 194.5cm E [email protected] ritual cloths were later draped in a cross Other embroidery techniques at the Photo: Alison Dwyer vesterheim.org form on the deceased’s coffin, thus insuring Vesterheim include blackwork, floral crewel, protection for the final journey. pulled and cutwork and whitework. 40 EMBROIDERY May / June 2014 May / June 2014 EMBROIDERY 41 This folk dress from Nes, Hallingdal, Norway, would have been worn on festive occasions. The outfit consists of a long black dress covered with embroidery on the hem and both the front and back of the bodice. There is a white blouse with whitework embroidery on the collar, placket, and cuffs, plus a beaded breastplate; an apron of dark blue plaid wool bordered with a band of geometric tapestry; a short black wool jacket with floral embroidery and a close- fitting black cap with floral embroidery. Late 1800s. Photo: Alison Dwyer The Collections The type of which heritage and connections with the coverlet called skinnfell, a woven cover Above left: A Norwegian whitework known country of origin are valued. Anders sewn to skin with the fur or fleece intact. coverlet or åkle woven in a The collection began in 1877 on the campus of Luther College in as hardangersøm carries Sandvig, a travelling dentist in rural Norway Patchwork quilts were not a Norwegian double interlock tapestry Decorah, Iowa. By the 1890s, the strength of the collection was in technique. Linen warp with the place name of a fjord in the late 19th century, admired the folk tradition, but immigrant women soon items brought by Norwegian immigrants and items made and wool weft. The black colour and cultural district on the west coast of culture, its art and architecture. The developed these skills. An unusual quilted used by Norwegians in America. The collection numbers over is done with horse tail hair. Norway where it was well known. However, Lillehammer town council purchased his dressing gown c1900 constructed of velvet From the west coast of 24,000 objects, including fine, decorative, and folk arts, tools and the technique is similar to Italian reticella collection of objects and of buildings. Today, and satin crazy quilt blocks may have been Norway, early 19th century. machinery. There are more than 5,000 textiles in the collection and likely migrated from Italy, though the known as Maihaugen, it is one of Europe’s a confirmation gift to the maker’s daughter. 129.5 x 156cm of decorative and household textiles, clothing, and accessories. exact path is unknown. In Norway locally largest open-air museums. It is covered with decorative embroidery and Photo: Laurann Gilbertson Tools for the production and care of textiles are also included. produced linen cloth and thread were used. When Sandvig heard about the museum stitched Bible verses in English and Above: A fine cotton apron An extensive archive housed at St Olaf College in Northfield, Immigrants brought small Hardanger in far-away Decorah, Iowa, which also had Norwegian. with a wide inset band of Minnesota, documents the individual human stories of embroidery pieces plus skills with them. begun preserving buildings, he conceived There are also knitted items, beautiful Hardanger embroidery immigration. Folk costumes, woven, knit and featuring eight-petal flower In their new homes, they developed the the idea of a gift to the Vesterheim. In sweaters, some of which were ‘thank you’ embroidered items are on display; objects and hatched cross motifs. tradition further, adding coloured collaboration with other Norwegian gifts from Norway in response to care in storage are available for research Made in the US or Norway, embroidered yarns and using readily museums and with support from packages sent during the war, plus socks by appointment with the chief curator, c1900. 89cm long available cotton fabric. Norwegian railway and shipping companies and mittens. Little is known about one of Photo: Vania Boland Laurann Gilbertson. who donated transportation, the gift the most evocative – a single, hand-knit, Hardanger embroidery gained followers Below: A purse made by when American thread manufacturers became a reality with the first shipment in now flee-bitten, child’s mitten. Only 10cm Grace Nelson Rikansrud to The curator’s choice published patterns and the technique was 1927. Others followed over several years. long, decorated in red stars and diamonds, coordinate with her blue ‘Rural Norwegian folk dress is a popular part promoted in women’s magazines. Of special Sandvig’s words express the vision that one wonders why it was saved and dress. White Hardanger cloth of the collection and numerous garments interest for Norwegian women was animated this gift: ‘May these objects work imagines both joyous or sorrowful with hardangersøm in cream, feature hardangersøm. The needlework The Woman and the Home , published in so that the Norwegian-ness in you will not associations. over blue lining. Loop handle is made of narrow white braid Norwegian in the US until 1947, with a die too soon… We (of Norway) follow you in The Norwegian American immigrant technique has enjoyed a revival beginning crocheted into a thick cable. our hearts, even though the big Atlantic experience has been extensively in the mid-twentieth century in the US. peak readership of 82,000 in 1907. Photo: Vania Boland Significant in that revival was Grace Nelson The magazine gave household hints, Ocean parts us.’ 2 documented. Individual stories emerge in Rikansrud (1911-2004), a needlework specialist recipes and needlework patterns, including A strength of the Vesterheim collection is letters from immigrants to family, friends, who demonstrated and taught Hardanger Hardanger. The list of items so embellished its wide range of handwoven textiles. Prized and neighbours in Norway. They tell of embroidery in Decorah. Her message was expanded as it became possible to decorate coverlets with beautiful and complex opportunities in America but also one of friendship through handwork and every room and garment with this type of patterning were brought from Norway. poignantly convey what was lost in crossing beauty. She thought everyone could whitework. It was natural for women of Many women packed their spinning wheels to the western home. Indeed, the appreciate these traditions and believed Norwegian descent to engage in decorative with them, believing that those available in Vesterheim’s collection of artifacts can be that their beauty and associated skills work that was both popular in their new the new country were inferior. Looms were understood in terms of both what is present transcended geographic boundaries and home, thus demonstrating their American- constructed after they arrived. However, the and what is absent, what has been saved ethnic origin. ness, at the same time preserving a link weaving done in America was more and what sacrificed. It stands with other ‘Her blue dress (right), embellished to their heritage. 1 utilitarian than decorative. immigrant museums as a testimony to with perfectly executed Hardanger Dress designed and made The Vesterheim itself has maintained A rya or pile coverlet was woven with the changed lives and the importance of embroidery, draws on and updates a by Grace Nelson Rikansrud close ties with institutions in Norway.