• Exhibits

    Image: Wise & Foolish Virgins (by Alison Aune)

2026 Exhibits

Each year, Gammelgården Museum presents a variety of exhibits exploring local history, culture, and traditional arts. For the 2026 season, our featured exhibits focus primarily on the rich history of textiles and fiber arts that have shaped our region over the past century.

Our indoor exhibit room showcased historic artwork, artifacts, and textiles spanning nearly 200 years, celebrating the remarkable craftsmanship and creativity of artists and artisans across generations. These exhibits highlight the diverse artistic traditions and handicraft skills practiced throughout Minnesota, celebrating the makers and artisans whose work has been left behind, enriching our region’s cultural heritage.

Vinterfest 2026 ExhibitThe Craft of Shoemaking in MinnesotaCommon Threads, Celebrated Stitches

2026 Vinterfest Exhibit

Life in a Northern Winter

The objects displayed here reflect the ingenuity, resilience, and traditions of northern communities shaped by long winters and harsh climates across both Scandinavia and the Upper Midwest.

From Sámi reindeer travel traditions and the Scandinavian spark sled on display here, to the handmade wool blankets, kerosene lanterns, and clamp-on ice skates, each artifact in this display represents a different aspect of daily life during the late 19th and early 20th centuries. Together, these items portray the realities of life during the cold months for these separate but similar regions through stories of transportation, warmth, work, and recreation in snowy environments where adaptation to winter was essential for survival and community life.

  • Spark Sled

This sled, also known as a “spark sled,” is traditional to Sweden and Finland. It is a small sled with a mounted chair on long, flexible metal runners. It is typically self-propelled by kicking off the ground with one foot, or can be pulled by animals like dogs, other people, or domestic caribou. The spark sled was invented in the mid 1870’s and remained a popular form of winter transportation until the first half of the 20th century, when they began getting phased out with the introduction of the automobile. Their use became more recreational after this point, besides their continued use in highly snowy villages and towns in certain regions.

  • Woven Tapestry 

Depicting Sámi Men with Caribou-Drawn Sled

This woven tapestry depicts two Sámi men traveling through the snow in a sled drawn by four caribou. Archaeological and ethnographic evidence suggests that caribou (reindeer) have been domesticated to varying degrees for over 3,000 years and have long been used to pull sleds and carts in regions where they were plentiful.

For the Sámi people of northern Scandinavia and the Arctic Circle, reindeer herding has historically been central to daily life, mobility, and cultural identity. Reindeer provided transportation, clothing, food, and tools, making them essential to survival in Arctic and sub-Arctic environments.

Caribou are native to the Arctic and sub-Arctic regions of North America, including Alaska and Canada, as well as across Eurasia, notably Greenland, Scandinavia, and Russia. They inhabit tundra and boreal forest environments. In Eurasia, the species is typically referred to as reindeer and is often semi-domesticated, particularly among Sámi communities, while North American populations remain largely wild and migratory.

  •  Kerosene Lantern

Cold Blast Kerosene Lantern, Circa ~1913

This C.T. Ham No. 2 Cold Blast Kerosene Lantern is an antique collectible important to Early Modern America. The kerosene lantern was invented in the mid 1850’s and provided light to millions around the world. This model, mostly manufactured in Rochester, New York, was renowned for its innovative Cold Blast design that allowed for a more efficient cycle of air to meet the flame, which returned in a brighter and steadier flame. Kerosene lamps remained a popular source of light until the early 1940’s.

  • Woven Blankets

Wool production expanded in Minnesota during the late 19th century as sheep farming and local textile work became increasingly common in rural communities. Wool production thrived in this region from the late 19th century and into the early 20th century due to the rise of local textile mills. One of these blankets was handmade from local Scandia wool collected in the mid 1800’s. 

  • Clamp-On Ice Skates

Antique Barney and Barney Clamp-On Ice Skates

A pair of antique clamp-on ice skates, likely dating back to the end of the 19th century, when the company was actively patenting and selling the product. Also sometimes referred to as Victorian Ice Skates. This type of skate was adjustable and attached to the bottom of a pair of boots. 

The Craft of Shoemaking in Minnesota

Cobbler Tools Display

Cobbler Exhibit – 2026

Our upstairs hallway exhibit from May-September of 2026.

This exhibit features artifacts donated primarily by two local Midwest families sharing their family histories of cobbler and leatherwork in Minnesota, spanning all the way back to the 1890’s.

This collection includes the entire contents of a cobbler’s workshop passed down through generations.

Exhibit curation and research done by Museum Staff member Hunter Panoch. The full contents of this exhibit will be available to view online at the end of September, when the exhibit reaches its close.

Common Threads, Celebrated Stitches:

Minnesota Handiwork, 1850-1950

Textiles Exhibit — 2026 — Page Work In Progress

Our upstairs main room exhibit from May-September of 2026.

This exhibit features a variety of textile artifacts from over 100 years of Minnesota’s history. These artifacts include examples of a variety of different types of handicraft skills including; embroidery, tatting, stitching, weaving, sewing, and more.

This exhibit’s curation and research were a collaborative effort by Museum staff members Ann Rinkenberger, Hunter Panoch, Linnea Johnson, and intern Ezra Bao. The full contents of this exhibit will be available to view online at the end of September, when the exhibit reaches its close.

Baptismal Dresses:

This collection of baptismal dresses, also sometimes referred to as Christening gowns, are all garments were worn during baptismal ceremonies.  The baptism ceremony in the Christian faith represents the washing away of sins and purity of the soul. This is also reflected in the delicate and flowing white and ivory fabrics used in the making of baptismal dresses. Historically, these dresses were often handmade by family members and often became family heirloom items, allowing many to survive today.

1.

2. This Christening Dress from circa 1905 is made from cotton fabric and lace. It was used as a baptismal christening dress, and was made by Auntie Anna Sandberg Almen in Los Angeles, and was worn by Alyce Pauline.

Donated by Barbara Glaser.

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Confirmation Dress with Overskirt 

1917 

Worn by Alice Erickson Cristgau at her confirmation at Elim Lutheran Church in 1917, this white machine-sewn dress has hand-crocheted lace inserts and trim on the neckline and sleeves. The cotton waistband has a hook-and-eye closure on the back. 

The white cotton overskirt, or apron, has a cotton waistband and a handkerchief hemline. It features a hand-crocheted lace insert as the trim.

Embroidery 

As Swedish immigrants settled in Minnesota and across the Upper Midwest, they brought with them needlework traditions. These textiles, three pillowcases and a handkerchief, were not just decorative, they were essential components of the immigrant household, and represent how embroidery was used to personalize accessories, linens, and clothing. These embroidered pieces, like many others, were passed down as family heirlooms and represent the artistic skill and commitment to making accessories special to use and to making one’s home a beautiful place in which to live.

Set of 2 White Cotton Pillowcases with Embroidery and Hemstitching

A white cotton pillowcase with floral embroidery in light blue, green, lavender and yellow.  Hemstitching detail along hem.

Cotton Pillowcase with Floral Embroidery 

An off-white cotton pillowcase with floral embroidery in orange, light blue, and green floral embroidery.

White Linen Square Handkerchief with Embroidery 

A mostly square white linen handkerchief with machine-made lace trim and one rounded corner ornamented with floral embroidery in purple, pink and pale green.

Cross Stitch

In the 1800s, store-bought goods were often prohibitively expensive or scarce for new immigrants and homesteaders. So, creating and embellishing linens and wall hangings was a normal part of care for home goods. Adding a creative, personalized touch to one’s home. Cross-stitch patterns, which were passed down through generations or available inexpensively, were often done during the long, cold Minnesota winters, when working on the farm or in gardens was impossible. 

Huckweaving: 

 In the 1800s, as Swedish immigrants settled in the Upper Midwest, they brought with them the knowledge of working with huck or huckaback fabric. This fabric is a type of cotton or linen cloth that has small, raised floats (loops) on the surface, making it exceptionally durable and absorbent. Over 150 years ago, linens were labor-intensive to make and involved many time-consuming steps, including carding, spinning, and weaving. By using the floats of the purchased huck fabric, women could weave decorative threads, often leftover embroidery floss or colored yarn, beneath these loops without piercing the base fabric. This technique enabled the creation of intricate, linear, and geometric patterns that transformed 2 plain towels into a piece of folk art reflecting the weaver’s skill. For immigrant women living in Minnesota, decorating towels provided a creative outlet during the long, isolating winter months. Because the technique did not require a complex loom or expensive equipment, huck weaving was an accessible form of needlework.

Green Huck Towel with Embroidery and Fringe

A green towel made of Swedish huck toweling with dark green hand-done embroidery across the top and bottom.  The top row of embroidery features a dashed green line with connected bows, or figure eights.  The bottom row of embroidery features linked diamond shapes.  With fringe across the top and bottom.

White Huck Towel with Embroidery

A white towel made with Swedish huck toweling.  Features a hand-embroidered line across the top and bottom in pink and orange, and a hand-embroidered band across the bottom in pink and orange.  Orange ombre crochet lace trim across the top and bottom.  There are also two sets of horizontal raised woven rows near the top and bottom.

Hardanger Embroidery

Hardanger embroidery (also known as Hardangersømm) is a type of embroidery that is traditionally worked with white thread on white even-weave cloth or linen, using drawn-thread or counted-thread work techniques. Sometimes, it is called whitework embroidery. Hardanger embroidery gets its name from the district of Hardanger in western Norway, where it was known simply as hvitsøm (whitework). During 1650-1850, Hardangersom (which means work from Hardanger area) flourished in Norway. Flax was grown, carded, spun, and woven into white fabric; and white thread was used to make and decorate traditional Norwegian national costumes (called bunads), clothing, and household linens (e.g., curtains, mats, bedspreads). 

Norwegian immigrants who traveled from Norway to America adapted to their new home, often in the Midwestern United States, continued creating household items and clothing using their skills in hardanger. Our pieces are donated by Eleanor Edman. 

Hardanger Square Doily

An example of hardanger (hardangersom), a form of embroidery that features counted thread stitches and drawn thread to create graphic patterns.  Traditionally white thread on white even-weave linen, or off-white/ecru thread on off-white/ecru even-weave linen.  This piece has angled edges with stitched borders, a repeating ‘fan’ emblem all around a central square and diamond.

Hardanger Square Doily

This off-white doily is an example of hardanger (or hardangersom), which is a traditional form of embroidery with patterns and designs created by loops of white thread on an even-weave piece of white linen.  This square has angled corners and ‘notches’ on the four sides.

Knit Work

Knitted Baby Sweater, Mittens, and Socks. Throughout the 16th and 17th centuries, knitting was a vital skill in Scandinavian countries. Initially, knitting was associated with luxury garments, but by the 19th and early 20th centuries, knitting (along with weaving and embroidery) was an essential part of the Swedish immigrant experience in the United States. Women used their expertise to make sweaters, socks, mittens, and household items that served their family’s daily life and were tangible links to their heritage. 

Mittens donated by Fred Sova.

Woven Work

This woven blanket is a fine example of Scandia, Minnesota’s rich local textile history that has been long rooted in the self-sufficiency efforts of 19th- century farm life. The wool blanket on display is a testament to this labor-intensive cycle: beginning with the raising and shearing of sheep; washing and carding the wool; dyeing the wool using natural pigments; spinning the roving into yarn; and finally weaving the yarn on a loom at the Edstrom family’s Big Lake Farm. 

Similarly, these woven pillows showcase the skill of Agnes Johnson Edquist, who lived on Oakhill Road in Scandia. Edquist wove the wool fabric for these pieces on her personal loom, incorporating colorful designs on each pillow. 

Pillows donated by Bettie Dickens.

Sad Irons

Our museum houses numerous pressing irons in a variety of styles, dating from the 1800s. Before the convenience of modern electricity, ironing clothing was a physically demanding part of daily life. This collection of “sad irons” showcases the tools people used to press and straighten their garments throughout the 19th century.

The term “sad iron” is thought to have originated from Old English, where “sad” had meanings associated with being sated, weary, heavy, or weighted. Another theory suggests the name reflected how housewives viewed the tedious and tiring task of ironing.

Made from solid cast iron, these irons were heated directly on a stove or over an open flame before being used. Unlike modern electric irons, they had no built-in heating element and relied entirely on an external heat source. The familiar term “iron” used for modern clothing irons comes from these early tools, which were traditionally made of cast iron and fitted with a handle.

Laundry Sack

This hand-sewn item is a custom-made laundry sack. Laundry sacks traditionally are made to hold dirty laundry, keeping it in one place until it is able to be cleaned. This laundry sack is unique because of its custom design and dowel rod that allows it to be hung for better storage.

Washboards

The washboard, an essential household tool in 19th and early 20th- sentury homes, was used for hand-washing textiles before the introduction of electric washing machines. Washboards were typically constructed with a rectangular wooden frame housing a series of parallel ridges. The device provided a textured surface for rubbing wet, soapy garments. This was essential for forcing cleansing agents through the fabric’s fibers which loosened dirt and grime that soaking could not remove. 

During the 1800s, these ridges were often carved from wood, though the mid-19th century saw the introduction of metal surfaces (typically zinc) which offered greater durability. By the early 1900s, galvanized steel became the standard material for the corrugated ridges. To use the board, a laundress would soak clothing in a washtub filled with hot, soapy water, and then press the fabric firmly against the ridges, moving it back and forth in a scrubbing motion. This labor-intensive process was a cornerstone of household maintenance and required significant physical exertion to ensure the cleanliness of the family’s clothing and linens. 

Steel Wash Tub and Anchor Brand Wringer

The steel wash tub and Anchor Brand wringer represent a shift in the 19th century from back-breaking manual labor in laundering clothes to the mechanization of household chores. Before the introduction of wringers, laundering clothes was an arduous, multi-day task that required hauling water, heating it over an open fire or on the stove, and scrubbing clothing and textiles by hand on a washboard. The wringer removed excess water from heavy, wet fabrics, which significantly reduced the physical strain on the laundress. The wringer, typically equipped with adjustable rubber rollers, used mechanical pressure to squeeze water from garments, a task that had previously required grip strength and manual twisting. By the late 1800s, wringers became essential household tools, symbolizing the evolving expectations of cleanliness and the growing availability of labor-saving devices in American households. Donated by Joel and Kim Anderson 

Dolly Stick

A dolly stick (also known as a poss-stick, peggy-leg, or dolly-peg) was an alternative to the washboard. Made from a sturdy piece of wood, the dolly stick was used to move the clothing and linens in a tub of soapy water to remove dirt and grime. By plunging the tool into the soapy water and fabric, the user could agitate the clothes and force the water through the fibers to achieve a level of cleanliness that scrubbing alone could not always provide.

Fells Naptha Soap and Grater 

First invented 1893

Before the convenience of modern washing machines and laundry detergents, keeping clothes clean often required considerable time and effort. Fels-Naptha laundry soap, first introduced in the late 19th century, became a popular household product for treating stains and washing clothing.

The soap was commonly grated into small pieces before being added to hot water, where it could be dissolved and used for laundry. A grater like this one made it easier to break the firm bar into manageable pieces.

Fels-Naptha was also valued as a stain remover, particularly for heavily soiled work clothes. Its distinctive yellow-orange bar was known to have a strong clean scent and made it a familiar household staple for generations.

Bluing Bottle

~about bluing~

Replica Late 1850s Immigrant Dress 

This outfit is a replica created in 2025 by Gammelgården Museum intern Margot Johnsen as part of an internship project. The ensemble was researched and designed to represent what a lower-class Swedish immigrant in a farming community may have worn after arriving in America during the late 1850s. These are the same types of garments that would have been worn in the very area where Gammelgården Museum stands today. 

The outfit includes a linen shift, handmade corset, quilted petticoat, cotton petticoat, day dress, and apron. 

To save time during construction, some inner structural pieces were machine sewn and certain interior seams were left unfinished. These details are not historically accurate, as sewing machines would have been too costly for most working families ofthe period.

Handmade Linen Bed Sheet 

This bed sheet was hand-spun, hand-woven, and hand-sewn from flax in Sweden. Note the lengthwise seam where the two woven pieces were sewn together. There is a crocheted border at the top of the sheet (displayed in reverse so the border can be viewed). This bed sheet is 52″ wide and 65″ long. The crochet trim is 4″ to 5.5″ long. Taking a look through the magnifying glass reveals just how fine the thread is and how much work went into weaving the two panels and sewing them together. Compare the weaving of this bed sheet with the weaving that is in progress on the floor loom across the room. Donated by Laura Sherman in memory of Alma Krantz Wegren (who wove the sheet from raw flax in Sweden and brought it with her to the United States in 1908). 

Traditional Swedish Wash Mangle

A Household Tool, a Courtship Gift, and a Link to Sweden

These practical household washing tools could also carry deep personal meaning. During the 18th and 19th centuries, young Swedish men sometimes carved and decorated mangle boards as courtship or marriage gifts for women they hoped to marry. They were often elaborately painted with traditional rosemaling and kurbits floral designs, initials, dates, and other decorations. These tools were an ultimate display of personal skill and craftsmanship and displayed ones affection towards a potential partner. Accepting such a gift could signify that the young woman’s interest was returned.

A common Swedish folk proverb states, “Beware of the man with many mangle boards,” as in traditional Swedish courting customs it would suggest that the man had been turned down by or chased after many women.

The traditional wooden mangle, like the sad iron, was another more primitive way used to assist in cleaning clothes. It was used to wring out and straighten clothes as far back as the 15th century across Scandinavia and North Europe.

Pine Trestle Table and Chairs 18th Century
The handmade pine trestle table and chairs are from the province of Dalarna in central Sweden and date back to the 18th century. They are part of the Airik and Cleyonne Gustafson collection that is on long-term loan to Gammelgården Museum from the University of Minnesota. Alrik (1903-1970) served as professor and chairman of the Scandinavian Department at the University of Minnesota for 26 years. He and his wife collected items of Swedish and Scandinavian furniture and furnishings over the course of their lives.

Homemade Fashion 

Across the rural Midwest, many families relied on home sewing, mending, and altering to create and preserve their clothing. While ready-made garments were slowly becoming more common in towns and cities, farm families often depended on practical sewing skills to maintain their clothing, as purchasing new garments was costly and access to stores was limited. Clothing was treated as a valuable necessity and was carefully repaired and passed down rather than quickly replaced 

The garments displayed in this section were custom-designed, hand-cut, and sewn roughly between 1880 and 1950. They reflect the craftsmanship and resourcefulness required to make clothing last and represent the enduring traditions of home textile work in the final era before fast fashion. 

Handmade Clothes

Navy Blue Blouse with White Diamond Pattern Gabardine Early 1900s. This homemade blouse was made using a sewing machine, The outer fabric is gabardine, and the inside lining is black cotton. This blouse was worn by Olivia Nilsdotter Nordin Gabardine is a tightly woven, durable textile that has a prominent diagonal twill weave. It can be made from cotton, worsted wool, or synthetic fibers. This type of fabric is known for its resilience, resistance to wrinkling, and water repellency. Donated by the family of John and Harriet Johnson Edstrom.

White Blouse Early 1900s Notice the many buttons that were on the back of this blouse. Each of the blouse, button is covered with the lace used around the neckline and shoulders 

Royal Blue Velvet Blouse, 1930s the front and a belt in the back with two buttons. It also features This velvet blouse has three heavy metal buttons with snap fasteners on homemade shoulder pads. Donated by the Ruth Arkman Estate. 

Crocheted Doilies Late 1800s-Mid 1900s 

Doilies like these were made to soften and decorate hard surfaces in the home. They protected tabletops and chair arms, framed vases and lamps, and showed that a household had both the time and skill for extra handwork. Though small, they turned plain furniture into something a little more finished and festive. 

White Square Cotton Cloth 

This delicate square of white cotton cloth has beautiful lace edging. It was found in a dresser drawer in the Pastor’s House/Annie’s House during the restoration and collections work done in July 2025. 

Linen Bread Basket Liner/Bread Warmer

This dainty bread basket liner has embroidered edges, lace inserts, and button closures. It is 15″x15″ and was found in the Pastor’s House/Annie’s House during the restoration and collections work done in July 2025.

Embroidered and Monogrammed Cotton Square

This embroidered and monogrammed cotton square has a machine- made lace border that was hand-sewn onto the fabric. It was found in the Pastor’s House/Annie’s House during the restoration and collections work done in July 2025.

Dresser Scarf with Crocheted Edges

This dresser scarf has edges and a rectangular insert that were crocheted by hand. It was found in the Pastor’s House/Annie’s House during the restoration and collections work done in July 2025.

Donated by the Clarence Dahl Family.

Child’s Dress with Embroidery 

Late 1800s to early 1900s.

This homemade dress was machine-sewn and features decorative hand-embroidery. There are two snaps on the back near the neckline.

Donated by Mary Benson. 

Child’s Dress with Front Pocket

This linen child’s dress is machine-sewn. There are six buttons on the inside of the placket. This dress has a tie across the back that is secured through the two side loops. A small front pocket is on one side of the dress. 

Donated by Mary Benson. 

Childs Coat

This 2-button child’s coat is cotton and was worn by Ester Carlson Morison circa ~1910. It features small embroidery details near the bottom inner lining as well as around the attached collar.

From Esther Carlson Morrison.

Blouse and Skirt 

Circa ~1910s-1920s

This woman’s homemade blouse was machine-sewn and features machine-made lace on the collar and cuffs. It was worn by Olivia Nilsdotter Nordin, who was the grandmother of Harriet Johnson Edstrom. It features a hook-and-eye closure on the front of the bodice.

The black skirt was a woman’s “working style” made from wool gabardine. It was homemade using a sewing machine. The back has a hook-and-eye closure. Notice the decorative buttons and design on the lower part of the skirt.

From the John and Harriet Edstrom estate.

Hand-Embroidered Scandia Minnesota Heritage Quilt

Eleanor Elmstrom, Forest Lake, Minnesota 1976

This 80″x 96 ” hand-embroidered quilt was made by Eleanor Elmstrom of Forest Lake in 1976 for the country’s Bicentennial. Gammelgården is displaying the quilt as part of this exhibit because it is a stunning example of hand-embroidered and hand-quilted work, and because 2026 is the country’s Semiquincentennial. 

Eleanor embroidered 30 squares that show different buildings and important landmarks in Scandia, Marine, Copas, and Otisville. Some of these buildings are still standing, and others no longer exist. 

What makes this quilt remarkable – in addition to the fact that it is hand-embroidered- is that the entire quilt is hand-quilted. On each square, the buildings, trees, people, and other features are all outlined in white thread 

Eleanor also stitched in random designs in each of the 30 quilt blocks to secure the quilt top, batting, and backing together. Along the border of the quilt, she hand-stitched a repeated decorative design. 

The other impressive thing about this quilt: it’s not the only one. There are two more versions that she made for her children, Bill and Karen. The museum has the one that Eleanor made for herself. 

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