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2 comments about The Woven Coverlets of Norway.

1. A Review in the December issue of the Norwegian-American newspaper, Døtre av Norge, a publication of the Daughters of Norway..

   Let me begin by saying that Katherine Larson is a member of Nina Grieg Lodge #40 of the Daughters of Norway in Poulsbo, Washington.

   Katherine worked with the Nordic Heritage Museum in Seattle and the Vesterheim Norwegian-American Museum, Decorah, Iowa, to develop a major exhibit on woven coverlets from major museums in Norway and the United States that was or will be shown as follows:

   * Nordic Heritage Museum, Seattle, Washington, September 13-November 11, 2001;
   * The Plains Art Museum, Fargo, North Dakota, May 16-July 14, 2002;
   * West Vancouver Museum and Archives, West Vancouver, British Columbia, August-October, 2002.

   The first forty pages of Katherine Larson's book are a cultural history of Norway using weaving and coverlets as a unifying theme. Katherine writes extensively and well about the isolation and self sufficiency of rural life in Norway. Although the precise dates that many techniques and technologies arrived in Norway from abroad are not typically known, she does try to frame such introductions in terms of centuries. More importantly, she discusses why weaving was so important to the development of the culture.

   My favorite chapter in the first section of the book is titled, "More Than Just a Cover for the Bed," in which she describes the arrangement of farm households, the psychological boost from colorful additions during the long winter months and the cradle to grave use of coverlets, including baptisms and funerals.

   Katherine uses historical photographs of women and their equipment; color prints from paintings in the National Gallery and line art of plants used for dying wool, of weaving techniques and of weaving patterns. She presents about 130 high-quality color photographs of finished coverlets, either flat so you can see the entire design or a close up section or in use on a bed. In addition there are many, many black and white photographs of more whole coverlets. Some of the detail drawings would also be useful for embroidery and knitting.

   The later chapters of the book are devoted one each to the various types of Norwegian woven coverlets. Some of these are pan-Scandinavian and others even pan-European, but the essence always comes back to what Norwegian women had, wanted to have and were willing to create for their homes from roughly the middle ages to modern times.

   Each valley or district in the country had a favorite technique and pattern for its coverlets, providing a rich visual texture to the book. The weaving styles and techniques covered include tapestry/billedvev, square-weave/rutevev, bound-weave/krokbragd, other weft-faced styles, knotted pile/rye, (reversible) double-weave/dobeltvev, and overshot/tavlebragd or skillbragd.
   
   The appendices and closing words include a brief afterword about her family's immigration experience, a conversational and a literal table of equivalent of weaving terms among English, Norwegian and Swedish; notes; a glossary of textile terms in English; a bibliography; and a proper index.

   This book is NOT a beginner's how-to. It is a highly readable cultural reference book about weaving. It would be a useful addition for anyone making hand-woven textiles, anyone who likes to apply older techniques in modern textile settings (not just weaving), and anyone interested in the cultural history of Norway and for Norwegian-Americans. In short almost everyone interested in Norway.

   I was pleased to find my own family's two dominant weaving styles in the later chapters of the book: Danish weave, common in southeastern Norway, and overshot weave, mostly the Monk's Belt pattern. One of my maiden great, great aunts was a professional weaver and both my grandmother and aunt also wove.




2. there are many publications about american coverlets, this one attracted me because it concerns coverlets from another weaving tradition.
   
   another reviewer has done a first rate job of detailing many of the books historical strengths. i am adding my review to include the patterns and designs.
   
   this is not, as the other reviewer noted, an instruction manual. but it is a superb design resource, for many other fiber arts as well as weaving.
   
   the photos are fantastic. the examples are inspiring--i'm mentally designing a color pattern sweater from one coverlet, and several beaded pr jects from others. some coverlet designs would translate very easily into several kinds of embroidery.
   
   the author notes the similarities in design among scandanavian, russion, other european and mid-eastern weavings. what i found interesting is the similarities between some of the coverlets and american patchwork quilts. all crafts borrowed freely from one another--lace patterns were made into embroidery, and vice versa, weaving patterns were used in knitting, etc., so finding simialr elements is common. but the designs of several coverlets in this selection could pass for patchwork in their arrangement. since morwegian settlers are credited wtih introding the log cabin to american in the colonial era, i wonder is they also influenced the design of 18th and 19th century quilts.
   
   this is a wonderful book, that would be of use and interest to norwegians and non-norwegians, anyone who designs for any textile craft, and the general reader who is interested in how our forbears lived.
   
   i can only hope that another edition will be brought out.

1 comments about An Introduction to Kurdish Rugs and Other Weavings.

1. Eagleton's personal experience lends a richness and authority to his subject that are surely lacking in other books. One of the legendary State Department "Arabists," he had been the last U.S. official to talk with Qaddaffi before the U.S. closed its Embassy there (the U.S. reopened an Interests Section in 2004, and an Embassy in 2006). He served as U.S. Chief-of-Mission at the Interests Section in Baghdad 1980-84, and Ambassador to Syria 1984-88. He's been with the Kurdish tribes, and in the bazaars, where these rugs are made.
   
   There is excellent historical/political context provided on Kurdish tribes in Turkey, Syria, Iraq, and Iran, and an analysis of rug designs.

No comments about Spanish-American Blanketry: Its Relationship to Aboriginal Weaving in the Southwest.

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2 comments about Handwoven's Design Collection 18: A Treasury of Towels.

1. Lovely collection of towel patterns, mostly kitchen, in full color with clear instructions. They run the gamut from everyday cotton waffle weave to chenille bath towels. I can't wait for the next collection.



2. I am not into making towels, but, you can readily adapt the patterns to scarves or table runners - many fun, fun things to make!

No comments about The shuttle-craft book of American hand-weaving: Being an account of the rise, development, eclipse, and modern revival of a national popular art, together ... and a large collection of historic patterns.

No comments about Patterns of Life: West African Strip-Weaving Traditions.

1 comments about The Joy of Spinning.

1. "The Joy of Spinning" by Marilyn Kluger is a good read for spinners and non-spinners alike. Her gentle homey descriptions have you interested far more than you ever expected. Her presentation of the technical aspect of spinning is clear, concise,and extremely helpful to the new spinner. The history of spinning and the role of women in society is well presented. The history of her oun journey toward a life enriched by spinning is charming. I believe anyone interested in fiber crafts will find this book informative and enjoyable. I rate it 5 stars.