Barbro Lundberg-Nilsson On Sale

Known for her role in popularizing Scandinavian modernism within the decorative arts, Swedish textile designer Barbro Lundberg Nilsson’s mastery of color and form and innovative designs for rugs and tapestries rendered her a substantial contributor to her native country’s legacy of mid-century textile design.

Nilsson was born Barbro Lundberg in 1899 in Malmö. At age 14, she studied weaving at Johanna Brunsson’s Vävskola and, later, at Tekniska Skolan (now Konstfack) in Stockholm, where she displayed a prodigious talent. Her career as a textile designer began in the 1920s when she created large-scale tapestry versions of modern Swedish art. In 1928, she married sculptor Robert Nilsson, and they spent the next few years living in Rome.

After their return to Sweden in the early 1930s, Swedish painter and sculptor Sven Erixson commissioned Nilsson to create a large tapestry as part of a proposal to refurbish the Gothenburg Concert Hall. During this period, she was a designer for influential Swedish textile artist Märta Måås-Fjetterström, who ran an atelier called MMF AB in Båstad. Following Måås-Fjetterström’s death in 1942, Nilsson was appointed manager of MMF AB, which she helmed until 1972. 

Nilsson remained prolific throughout the mid-20th century. Not only did she manage MMF AB — working with the likes of designers Marianne Richter and Ann-Mari Forsberg —  but she was also the director of Konstfack’s textiles department from 1947 to 1957. During this time, she became well-known throughout Sweden and Europe for her innovative use of color, provocative patterns and weaving techniques, such as flossa, haute-lisse, flatweave and knotted high-pile to create her impressive hand-woven Scandinavian rugs and carpets.

 Nilsson produced tapestries, rugs and decorative textiles for the Supreme Court of Sweden, the Swedish embassy in Moscow, Russia and Helsingborg’s City Library. She also created decorative textiles for more than 40 Swedish churches, including several church restoration projects helmed by her brother, the famed Swedish architect Erik Lundberg. For her outstanding contributions to culture, Sweden’s royal Litteris et Artibus awarded her a medal in 1948.

Even after she died in 1983, Nilsson’s reputation endures. Her work is held in the collections of the National Museum of Sweden and museums in Gothenburg and Malmö, Copenhagen, Denmark and Trondheim, Norway.

On 1stDibs, discover a range of vintage Barbro Nilsson rugs, carpets and wall decorations.

Scandinavian modernism is perhaps the warmest and most organic iteration of modernist design. The work of the designers associated with vintage Scandinavian modern furniture was founded on centuries-old beliefs in both quality craftsmanship and the ideal that beauty should enhance even the humblest accessories of daily life.

ORIGINS OF SCANDINAVIAN MODERN FURNITURE DESIGN 

• Emerged in the 1930s 
• Originated primarily in Denmark, Sweden and Finland
• Introduced in the United States in mid-20th century
• Informed by the Bauhaus and modernism; influenced American mid-century modernism  

CHARACTERISTICS OF SCANDINAVIAN MODERN FURNITURE DESIGN

• Bold, clean lines and simple, sturdy symmetries
• Use of natural materials — native woods such as pine, ash and beech
• Open, airy spaces
• Promotion of functionality
• Emphasis on craftsmanship; rooted in cabinetry profession and traditional construction techniques
• Minimal ornamentation (little to no embellishment)
• A neutral or light color palette owing to prominence of light woods

SCANDINAVIAN MODERN FURNITURE DESIGNERS TO KNOW

• Alvar Aalto
• Hans Wegner
• Kaare Klint
• Arne Jacobsen
• Greta Magnusson Grossman 
• Finn Juhl
• Arne Vodder
• Verner Panton

ICONIC SCANDINAVIAN MODERN FURNITURE DESIGNS

• Ant chair
• Grasshopper table lamp
• Wishbone chair
• Stool 60
• Artichoke lamp

VINTAGE SCANDINAVIAN MODERN FURNITURE ON 1STDIBS

The gentle, organic contours that are typical of Scandinavian design appear in the furnishings and decor created by Danish, Finnish and Swedish designers not as a stylistic gesture, but rather as a practical, ergonomic — and, as importantly, elegant — response to the human form.

Each nation produced exceptional talents in all areas of the applied arts, yet each had its forté. Sweden was home to Greta Magnusson Grossman and Bruno Mathsson — creators of the classic Grasshopper lighting series and Berlin daybed, respectively — but the country excelled most notably at ceramics. In the 1920s at the great Gustavsberg porcelain manufactory, Wilhelm Kåge introduced pieces in the Scandinavian style based on influences from folklore to Cubism; his skills were passed on to his versatile and inspired pupils Berndt Friberg and Stig Lindberg.

Likewise, Finland produced a truly ingenious Scandinavian modern furniture designer in the architect Alvar Aalto, a master at melding function and artistic form in works like the Paimio chair, created in collaboration with his first wife, Aino. Yet Finnish glassware was pre-eminent, crafted in expressive, sculptural designs by Tapio Wirkkala and Timo Sarpaneva.

The Danes excelled at chairs. Hans Wegner and Arne Jacobsen were exemplars of the country’s facility with wood, particularly teak. 

Wegner created such iconic pieces as the Round chair and the Wishbone chair; Jacobsen — while the revolutionary architect and furniture innovator produced the best-selling plywood Ant chair — designed two classic upholstered pieces of the 1950s: the Swan chair and Egg chair. The list of great Danes could go on and on, including Finn Juhl, a stylistic maverick and maker of the bold Chieftain chair; Poul Kjaerholm, with his lean metal-and-rattan aesthetic; and Verner Panton, who introduced a vibrant Pop note into international design.

Today, decades after their heyday, the prolific, ever-evolving Scandinavian modernists continue to amaze and delight, and interior designers all over the world use their pieces to bring warmth to any given space.

On 1stDibs, you will note both instantly recognizable vintage Scandinavian modern chairs, sofas, rugs and tables — those that have earned iconic status over time — and many new discoveries. 

Antique, new and vintage area rugs and carpets are a simple way to add warmth and style to any space. Area rugs can be seasonal or changed with other decorative objects to refresh an interior. Carpet piles materials can vary from wool and cotton to silk and synthetic fibers, and the purpose of a floor covering can range from reducing noise to offering a place to sit.

Vintage rugs can ground a space, and arranging furniture around them creates a measured focal point. Key furniture pieces can be placed on the rug or just the legs, such as with furniture like coffee tables in your living room.

So, how can you tell if a rug is high quality or vintage?

The three main components that determine the quality of a piece are the dyes, the wool and the number of knots per square inch. Ultimately, however, if you want to be sure the rug you’re buying is truly an antique, it is best to consult an expert.

If you want a creative design that stands out, area rugs or carpets can provide layers of color. Rugs and carpets reflect a global heritage of textiles and weaving, such as ornately patterned Persian and Indian designs. Visually striking Chinese rugs can add a delicate touch of color, while modern rugs make a statement with their geometric patterns.

Turkish rugs, with their ruby reds and misted blues, their entwined botanical designs and rhythmic geometries, are as beloved today as they were in the 13th century. The West’s current infatuation with Moroccan and North African tribal rugs stretches to the mid-20th century, when modern furniture designers embraced bold geometric patterns and even bolder palettes as counterpoints to form-follows-function interiors. Alvar Aalto, Frank Lloyd Wright and Le Corbusier were among the designers who used these rustic, natural rugs to offset austere interiors.

If you properly maintain your antique and vintage rugs, they will last for many years. When you’re thinking about how to clean a rug, it is important to keep in mind that your vacuum is not too harsh for your favorite floor covering. Frequent vacuuming is in fact necessary to remove everyday dirt that otherwise wears down the pile. Omri Schwartz of Nazmiyal does, however, stipulate that “it’s best to use an ordinary suction vacuum without bristles, as the bristles can damage the rug’s pile.” Rotating the carpet every couple of years is also recommended — it ensures that the rug gets even foot traffic.

On 1stDibs, find a vintage rug or carpet to add a layer of beauty and function to your room.