Woven

Coin weave of unbleached white and red two-toed wool yarn. The cover is woven on half width and is sewn on the back with woolen thread. A few pieces on the back, along the long sides. The fringe of the card ends severely worn down. The edges of the tissue are protected on the back by a 5.5 cm wide stretcher of sparsely tusky-woven natural linen, 11 cm wide in the hem and 5.5 cm wide along the long sides. A suspension channel of a 15 cm wide stretcher, partly double in densely washed natural linen, sits in the upper cross end. The red yarn is probably colored with a crap. Bleached and with darker spots. The pattern consists of a mirror with rhythmically distributed and stylized pomegranates surrounded by Rombically placed palmette leaves in white on a red base and an outer girder with alternating red/white and white/red squares with the Christ monogram IHS with a surrounding stylized crown of thorns. In the bottom of the stretcher, two of the monogram panes interwoven the initials and the century: “HIS IBD 1751.” At the short ends, a simple zigzag stretcher runs in white on red. Acquisition condition: Bleached, darker spots, worn fringe, otherwise good condition. The tissue is depicted in Lychou 1996 p. 145 (see below) and described: "The probably oldest preserved bohusland finch cover is from Tjörn and is dated 1751. The pattern is a pomegranate pattern with palmette leaves that appeared on the silk and velvet fabrics of the 15th century. - - - The cover has been used as a horse cover when worn and was no longer used to bite the cottage. It was slung on a lodge along with old sacks to burn up. The Coverage has belonged to the County Circle in Bohuslän, Nils David Lychou, MorTan, Restenäs in Uddevalla, dead in the second half of the 1930s. He obtained the cover as a reward in his service. The cover is probably from Tjörn, according to the donors. Agronom NDL was the grandfather of Claes Lychou, one of the donors. Donors believe that the cover was used as a wall ornament in the home. After his death, the cover was taken over by CL’s aunt, Rigmor Lychou in Uppsala. She had it hanging out in her “big room.” It was also she who made sure that the cover was cared for and received a suspension channel. Conservators at the Swedish National Heritage Board probably did this year in 1962 (according to Marianne Erikson, a former student at the Röhsska Museum, Gothenburg). Faster Rigmor died in the 1980s and the cover was taken over by the donors. These have had it exposed on a wall, protected from sunlight in their dining room in the Gothenburg residence. When changing to a smaller dwelling, the cover was not given a place, but was offered to Bohusläns museum. Faster Rigmor had wanted the cover to come to the Röhsska Museum of Fine Arts in Gothenburg after the death of the donors. These and other close relatives, after consultation, have decided to hand over the cover to Bohusläns museum.