{"title":"Rugs and Carpets","description":"","products":[{"product_id":"marta-maas-fjetterstrom-handwoven-bla-heden-carpet-in-wool","title":"Märta Måås Fjetterström Handwoven 'Blå Heden' Carpet in Wool","description":"\u003cp\u003eMärta Måås Fjetterström for Märta Måås-Fjetterström AB, handwoven 'Blå heden' carpet, wool on linen warp, Sweden, designed in 1931 and woven after 1942\u003cbr\u003e\u003cbr\u003eThis handwoven carpet is designed by one of the most influential and leading Swedish textile artists of the twentieth century, Märta Måås Fjetterström (1873-1941). This woolen carpet is conceived by means of the rölakan flatweave technique which consists of picking wefts by hand and at each color change the wefts are laid across one another. This makes the colors interlock, resulting in solid ridges. The displayed carpet is named Blå Heden or Blue Heath, and is characterized by an abstract composition of angular shapes and decorative lines. Måås-Fjetterström used a diverse, but harmonious color palette with the colors blue, green, brown, red, and beige. The fringes surround the compositional work of art on two sides. \u003cbr\u003e\u003cbr\u003eThe bottom of the carpet is signed with ‘AB MMF’ \u003cbr\u003eMärta Måås-Fjetterström was born 1873 in Kimstad, a small village located in Östergötland, Sweden. At the age of seventeen, she participated the School of Industrial Arts in Stockholm with a major in art and followed a training as an illustrator and drawing teacher. After she had graduated, she started working as a teacher in the weaving studio at the Lund Museum of Cultural History (Kulturen). She was commissioned by Georg Karlin, the founder of Kulturen, to create her first textile sketches. After some years, she became the director of the Malmöhus County Handicraft Association in Malmö. Both schools, and many other institutions like these in Sweden at that time, aimed at preserving the traditional principles of Scandinavian design as a response to progressive art movements that flourished in other European countries like the Art Deco movement. Måås-Fjetterström was at that time searching for new ways to improve and individualize the traditional methods and motifs she encountered. Her ingenuity and creative approach towards the textile arts were perceived as a threat to Hemslöjden's preservation of their traditional patterns and techniques, which is why she was fired in 1911. \u003cbr\u003e\tShortly thereafter Måås-Fjetterström awaited a new opportunity and moved to Vittsjö where she met Lilli Zickerman (1858-1949), initiator of the National Association of Swedish Handicraft Societies. Together they directed a new weaving school where Måås-Fjetterström enjoyed her artistic independency. The school provided a workshop with skilled weavers who made it to weave the carpets and tapestries designed by Måås-Fjetterström. She developed techniques and patterns suitable for artistically produced rugs and tapestries, which were given titles and signed “MMF”. The ‘Blommande träd’ rug that is now on display is a great example of a design made by Måås-Fjetterström during this period. \u003cbr\u003e\tIn 1919, at the age of 46, Märta Måås-Fjetterström opened her own company and a weaving studio in Båstad, Sweden. At this point, she would come to revolutionize the Swedish textile tradition. She employed over twenty skilled weavers, of which the first women were her former students from the Vittsjö weaving school. Her main sources of inspiration were the nature around here, oriental knotted rugs and old Scanian textiles. Måås-Fjetterström's designs continuously changed along with the world’s zeitgeist and aesthetics. When modernist and functional architecture flourished in the 1930s, her designs took a more simplistic turn by the implementation of balanced simple lines and shapes executed in a few colors. She gained huge success on an international scale and exhibited at prominent art and industrial exhibitions in various cities located in Europe and the United States.  \u003cbr\u003eTowards the end of 1940, she wrote her lifelong friend Carl Malmsten (1888-1972): “But the road is long and instead of decreasing, the projects and sketches in my drawer accumulate, as if waiting to be realised. Before you can finish, life is over. I wish I could continue on another planet.” Måås-Fjetterström dies in 1941 after a period of illness, only 67 years old. She left almost 700 sketches of patterns for rugs and fabrics and working instructions, but not to forget, a hard-working team of professional weavers. The company was about to close its doors until Carl Malmsten, among others, arranged a fundraiser that saved the collection and the studio. In January 1942, AB Märta Måås-Fjetterström is launched and is directed by the textile artist Barbro Nilsson between 1942 and 1970. \u003cbr\u003eUp until this day, the studio is widely recognized for its carpets and tapestries of remarkable skillful craftsmanship and designs of artistic and cultural value. Their approach to design and weaving is passed on from generation to generation. A team composed of well-educated weavers using the exact same techniques devised over 100 years ago. \u003c\/p\u003e \u003cp\u003e VAT within the EU: When buying or delivering an item within the EU, VAT usually applies and will be added.\u003c\/p\u003e","brand":"Morentz","offers":[{"title":"Default Title","offer_id":50248956870999,"sku":"LU933138405242","price":37400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50114363_01__org.jpg?v=1750698017"},{"product_id":"barbro-nilsson-for-ab-marta-maas-fjetterstrom-snackorna-carpet-1","title":"Barbro Nilsson for AB Märta Måås-Fjetterström 'Snäckorna' Carpet","description":"Barbro Nilsson for AB Märta Måås-Fjetterström, carpet, model ‘Snäckorna’, wool on linen warp, Sweden, design 1943, production afterwards\u003cbr\u003e\u003cbr\u003eExceptional hand-woven carpet designed by the celebrated Swedish textile designer Barbro Nilsson in 1943. Not only is this carpet beautifully designed, its size of 300 x 202 cm (118.11 x 79.53 inches) makes it even more impressive. Nilsson applied the gobeläng flatweave technique to make this specific carpet. This technique is introduced by the artist herself to the MMF studio in 1942, which allows for more liberated and expressive forms compared to the traditional flatweave techniques. In this process, a full-scale working drawing featuring the pattern contours is placed underneath the warp in the loom. The wefts are then meticulously handpicked and woven to follow the outlined shapes. For every design, Nilsson would make a drawing she would use as a guideline for the carpet’s pattern. Many of her carpets can be categorized into distinct groups based on their underlying motifs and the names associated with their creation. ‘Snäckorna’, means snails in Swedish, and belongs to the “fish and sea” theme. As with all her designs, Nilsson wove her initials ‘B N’ and AB MMF (meaning AB Märta Måås-Fjetterström) at the edge of the carpet.  \u003cbr\u003e\u003cbr\u003eBarbro Nilsson (1889- 1983), née Lundberg, was a Swedish textile designer from Malmö, Sweden. In 1904 her family moved to Stockholm where her father, Carl T. Lundberg, was the manager of the department store ‘Nordiska Kompaniet’(NK). At the age of fourteen, Nilsson started her education in weaving and textile design at the Brunssons Vävskola that was founded by Johanna Brunsson in 1843. Nilsson continued her education at the ‘Tekniska Skolan’ (technical academy) in Stockholm where she enriched her skills in weaving even further. In 1928 she married to the sculptor Robert Nilsson (1894-1980) with whom she collaborated with on numerous of tapestries. Barbro Nilsson excelled in combining color and form, and her creative combinations and different weaving techniques makes her work unique among other Scandinavian textile designers from the 20th century. She became the right hand to Swedish textile designer Märta Måås-Fjetterström (1873–1941), who founded a weaving studio Båstad in 1919. After Måås-Fjetterström passed away in 1942, Nilsson took over the leadership of the studio. Here she created new carpet patterns and experimented with different techniques such as the traditional Swedish hand-knotted ‘flossa’ technique in relief, flat weave and knotted-pile technique. Up until this day, the studio is widely recognized for its carpets and tapestries of remarkable skillful craftsmanship and designs of artistic and cultural value. Their approach to design and weaving is passed on from generation to generation. A team composed of well-educated weavers using the exact same techniques devised over 100 years ago. In 1983 Barbro Nilsson passed away and will be remembered as one of the most accomplished textile designers of the 20th century.   ","brand":"Morentz","offers":[{"title":"Default Title","offer_id":51531087479127,"sku":null,"price":44000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50112120_St_P_2_2942a0c0-9b2a-43a3-a99a-abef9cd551c3.jpg?v=1755796353"},{"product_id":"barbro-nilsson-for-ab-marta-maas-fjetterstrom-kryddnejlikan-carpet-in-wool","title":"Barbro Nilsson for AB Märta Måås-Fjetterström 'Kryddnejlikan' Carpet in Wool","description":"Barbro Nilsson for Märta Måås-Fjetterström AB, carpet, model ‘Kryddnejlikan’, wool on linen warp, Sweden, design 1950\u003cbr\u003e\u003cbr\u003eExceptional hand-woven carpet designed by the celebrated Swedish textile designer Barbro Nilsson in 1950. Not only is this carpet beautifully designed, its size of 393 x 401 cm (154.7 x 157.9 in.) makes it even more impressive. Nilsson applied the gobeläng flat weave technique to make this specific carpet. This technique is introduced by the artist herself to the MMF studio in 1942, which allows for more liberated and expressive forms compared to the traditional flatweave techniques. In this process, a full-scale working drawing featuring the pattern contours is placed underneath the warp in the loom. The wefts are then meticulously handpicked and woven to follow the outlined shapes. For every design, Nilsson would make a drawing she would use as a guideline for the carpet’s pattern. As with all her designs, Nilsson wove her initials ‘B N’ and AB MMF (meaning AB Märta Måås-Fjetterström) at the edge of the carpet.  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBarbro Nilsson (1889- 1983), née Lundberg, was a Swedish textile designer from Malmö, Sweden. In 1904 her family moved to Stockholm where her father, Carl T. Lundberg, was the manager of the department store ‘Nordiska Kompaniet’(NK). At the age of fourteen, Nilsson started her education in weaving and textile design at the Brunssons Vävskola that was founded by Johanna Brunsson in 1843. Nilsson continued her education at the ‘Tekniska Skolan’ (technical academy) in Stockholm where she enriched her skills in weaving even further. In 1928 she married to the sculptor Robert Nilsson (1894-1980) with whom she collaborated with on numerous of tapestries. Barbro Nilsson excelled in combining color and form, and her creative combinations and different weaving techniques makes her work unique among other Scandinavian textile designers from the 20th century. She became the right hand to Swedish textile designer Märta Måås-Fjetterström (1873–1941), who founded a weaving studio Båstad in 1919. After Måås-Fjetterström passed away in 1942, Nilsson took over the leadership of the studio. Here she created new carpet patterns and experimented with different techniques such as the traditional Swedish hand-knotted ‘flossa’ technique in relief, flat weave and knotted-pile technique. Up until this day, the studio is widely recognized for its carpets and tapestries of remarkable skillful craftsmanship and designs of artistic and cultural value. Their approach to design and weaving is passed on from generation to generation. A team composed of well-educated weavers using the exact same techniques devised over 100 years ago. In 1983 Barbro Nilsson passed away and will be remembered as one of the most accomplished textile designers of the 20th century.   \u003cbr\u003e","brand":"Morentz","offers":[{"title":"Default Title","offer_id":52506719945047,"sku":null,"price":84000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50114364_St_P_5.jpg?v=1767982606"},{"product_id":"marianne-richter-for-marta-maas-fjetterstrom-flader-rod-carpet-in-wool-1","title":"Marianne Richter for Märta Måås-Fjetterström 'Fläder Röd' Carpet in Wool","description":"Marianne Richter for Märta Måås-Fjetterström AB (MMF AB), rölakan flat weave carpet 'Fläder Röd', wool, Sweden, design 1943, made 1940s \u003cbr\u003e\u003cbr\u003eAn exceptional rare piece designed by female textile artist Marianne Richter in 1943. This woolen carpet is conceived by means of the rölakan flatweave technique which consists of picking wefts by hand and at each color change the wefts are laid across one another. This makes the colors interlock, resulting in solid ridges. The displayed carpet is named Fläder Röd or Red Elderflower, and is characterized by an abstract composition of various angular shapes and decorative lines. The color that dominates the composition is red, alternated by orange, off-white and yellow. As with all her designs, Richter wove her initials ‘M R’ and AB MMF (meaning AB Märta Måås-Fjetterström) at the edge of the carpet.  \u003cbr\u003e\u003cbr\u003eBorn with an innate passion for composition, color and shape, Marianne Richter (1916-2010) emerged as a prominent figure in the world of textile art, leaving an indelible mark on the industry. Her journey as an artist began in her early years, where she showcased remarkable artistic talent. It was this raw aptitude that led her to pursue formal training at the Technical School in Stockholm. \u003cbr\u003e\u003cbr\u003eA significant chapter in Richter's illustrious career was her work for Märta Måås-Fjetterström AB, a renowned Swedish textile company. Joining the esteemed atelier in from 1942 onwards, she quickly made her presence felt with innovative contributions that breathed new life into the traditional craft. Her tenure at Märta Måås-Fjetterström AB marked a turning point for the company as Richter introduced daring color palettes, intricate patterns, and fresh concepts that still captivate many. \u003cbr\u003e\u003cbr\u003eRichter's artistic philosophy transcended mere aesthetics; it reflected her deep-rooted belief in the importance of preserving the cultural heritage of weaving while simultaneously pushing the boundaries of textile art. Through her meticulous craftsmanship and artistic vision, she elevated the status of woven textiles as true works of art.\u003cbr\u003e","brand":"Morentz","offers":[{"title":"Default Title","offer_id":52506720108887,"sku":null,"price":39400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50114342_St_P_5.jpg?v=1767982618"},{"product_id":"rare-and-early-laila-karttunen-finnish-handwoven-carpet-in-wool-1","title":"Rare and Early Laila Karttunen Finnish Handwoven Carpet in Wool","description":"Laila Karttunen, handwoven flatweave carpet, wool, Finland, 1930s \u003cbr\u003e\u003cbr\u003eThis rare early hand-woven carpet was designed by the celebrated Finnish textile artist Laila Karttunen (1895–1981). Beyond its striking composition, the carpet is remarkable for its impressive scale, measuring 418 × 236.5 cm (164.57 × 93.11 in.), which gives it a strong visual presence. Karttunen is widely regarded as one of the pioneers of Finnish textile art, playing a key role in shaping the field during the 20th century.\u003cbr\u003e\u003cbr\u003eShe spent much of her life in Hämeenlinna, where she worked as a teacher and designer before becoming the artistic director of the Wetterhoff Craft School. Throughout her long career, Karttunen engaged deeply with both historical textile traditions and contemporary artistic movements. Her work gained international recognition, including a gold medal at the Milan Triennale, and she became an influential figure within Finnish applied arts.\u003cbr\u003e\u003cbr\u003eOften describing her creative process with the words “yarn is my paint,” Karttunen approached textiles with the mindset of a modern artist. This carpet reflects her distinctive language, combining geometric abstraction with influences drawn from both modernism and Nordic folk art. The rhythmic interplay of lines and shapes suggests Bauhaus ideals, while the subdued, earthy color palette remains rooted in Scandinavian textile heritage, making this piece an important and highly accomplished example of Nordic craftsmanship.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\t","brand":"Morentz","offers":[{"title":"Default Title","offer_id":52580680466775,"sku":null,"price":27500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50117969_St_P_17_143905a1-c8e8-406a-ad24-f672c3bd89d1.jpg?v=1768813057"},{"product_id":"marta-maas-fjetterstrom-rare-and-large-hasthagen-carpet-in-wool","title":"Märta Måås-Fjetterström Rare and Large 'Hästhagen' Carpet in Wool","description":"Märta Måås-Fjetterström, 'Hästhagen' carpet, wool on linen warp, Sweden, design 1923, woven 1930s\u003cbr\u003e\u003cbr\u003eThis exceptional handwoven 'Hästhagen' carpet was designed by Märta Måås-Fjetterström (1873–1941), one of Sweden's most influential textile artists of the twentieth century. Not only is this carpet beautifully designed, its size of 522 x 326.5 cm (205.51 x 128.54 in.) which is one of the largest examples known to exist, makes it even more impressive. Hästhagen was first created for The Gothenburg Tercentennial Jubilee Exhibition in 1923, an event that drew over four million visitors. It was instrumental in establishing a new design identity in Sweden, one that united elements of tradition and modernity. At a time when economic decline and post-war hardship dominated European discourse, the exhibition offered a positive and diverse perspective. A version of the carpet was presented as a wedding gift to the Crown Prince and Princess of Norway, Olav and Märtha. The Norwegian Royal Family commissioned another identical rug. The carpet is regarded as one of Märta Måås-Fjetterström’s most important works. \u003cbr\u003e\u003cbr\u003eThis carpet was crafted using the knotted pile technique, the most exclusive and time-intensive weaving method. Highly favored by the artisans, this technique involves individually hand-knotting the knots around a ruler before cutting it to create a smooth surface. The resulting texture is thick and raised, enhancing the depth and intensity of the colors. The dense knotting allows for highly intricate patterns. The layout of the carpet showcases a striking composition of abstract geometric shapes and figurative motifs. Dominated by natural muted tones that are undoubtedly Nordic, its most depicted horse figure in various constellations aligns with the meaning of “'Hästhagen” – Swedish for “Horse Pasture”. The rug is further framed by fringes on two sides. \u003cbr\u003e\u003cbr\u003eThe bottom of the carpet bears the inscription: \"MMF\" (Märta Måås-Fjetterström’s initials).  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBiography\u003cbr\u003e\u003cbr\u003eMärta Måås-Fjetterström was born 1873 in Kimstad, a small village located in Östergötland, Sweden. At the age of seventeen, she participated the School of Industrial Arts in Stockholm with a major in art and followed a training as an illustrator and drawing teacher. After she had graduated, she started working as a teacher in the weaving studio at the Lund Museum of Cultural History (Kulturen). She was commissioned by Georg Karlin, the founder of Kulturen, to create her first textile sketches. After some years, she became the director of the Malmöhus County Handicraft Association in Malmö. Both schools, and many other institutions like these in Sweden at that time, aimed at preserving the traditional principles of Scandinavian design as a response to progressive art movements that flourished in other European countries like the Art Deco movement. Måås-Fjetterström was at that time searching for new ways to improve and individualize the traditional methods and motifs she encountered. Her ingenuity and creative approach towards the textile arts were perceived as a threat to Hemslöjden's preservation of their traditional patterns and techniques, which is why she was fired in 1911.  \u003cbr\u003e\u003cbr\u003eShortly thereafter Måås-Fjetterström awaited a new opportunity and moved to Vittsjö where she met Lilli Zickerman (1858-1949), initiator of the National Association of Swedish Handicraft Societies. Together they directed a new weaving school where Måås-Fjetterström enjoyed her artistic independency. The school provided a workshop with skilled weavers who made it to weave the carpets and tapestries designed by Måås-Fjetterström. She developed techniques and patterns suitable for artistically produced rugs and tapestries, which were given titles and signed “MMF”. The ‘Blommande träd’ rug that is now on display is a great example of a design made by Måås-Fjetterström during this period.  \u003cbr\u003e\u003cbr\u003eIn 1919, at the age of 46, Märta Måås-Fjetterström opened her own company and a weaving studio in Båstad, Sweden. At this point, she would come to revolutionize the Swedish textile tradition. She employed over twenty skilled weavers, of which the first women were her former students from the Vittsjö weaving school. Her main sources of inspiration were the nature around here, oriental knotted rugs and old Scanian textiles. Måås-Fjetterström's designs continuously changed along with the world’s zeitgeist and aesthetics. When modernist and functional architecture flourished in the 1930s, her designs took a more simplistic turn by the implementation of balanced simple lines and shapes executed in a few colors. She gained huge success on an international scale and exhibited at prominent art and industrial exhibitions in various cities located in Europe and the United States.   \u003cbr\u003e\u003cbr\u003eTowards the end of 1940, she wrote her lifelong friend Carl Malmsten (1888-1972): “But the road is long and instead of decreasing, the projects and sketches in my drawer accumulate, as if waiting to be realised. Before you can finish, life is over. I wish I could continue on another planet.” Måås-Fjetterström dies in 1941 after a period of illness, only 67 years old. She left almost 700 sketches of patterns for rugs and fabrics and working instructions, but not to forget, a hard-working team of professional weavers. The company was about to close its doors until Carl Malmsten, among others, arranged a fundraiser that saved the collection and the studio. In January 1942, AB Märta Måås-Fjetterström is launched and is directed by the textile artist Barbro Nilsson between 1942 and 1970.  \u003cbr\u003e\u003cbr\u003eUp until this day, the studio is widely recognized for its carpets and tapestries of remarkable skillful craftsmanship and designs of artistic and cultural value. Their approach to design and weaving is passed on from generation to generation. A team composed of well-educated weavers using the exact same techniques devised over 100 years ago.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMarta Maas","brand":"Morentz","offers":[{"title":"Default Title","offer_id":52978730074455,"sku":null,"price":90000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50118256_St_P_10_b2d1b827-d26e-41a8-9a61-24f294714e95.jpg?v=1773135565"},{"product_id":"marta-maas-fjetterstrom-rare-and-large-hasthagen-carpet-in-wool-1","title":"Märta Måås-Fjetterström Rare and Large 'Hästhagen' Carpet in Wool 522cm\/205.51in.","description":"Märta Måås-Fjetterström, 'Hästhagen' carpet, wool on linen warp, Sweden, design 1923, woven 1930s\u003cbr\u003e\u003cbr\u003eThis exceptional handwoven 'Hästhagen' carpet was designed by Märta Måås-Fjetterström (1873–1941), one of Sweden's most influential textile artists of the twentieth century. Not only is this carpet beautifully designed, its size of 522 x 326.5 cm (205.51 x 128.54 in.) which is one of the largest examples known to exist, makes it even more impressive. Hästhagen was first created for The Gothenburg Tercentennial Jubilee Exhibition in 1923, an event that drew over four million visitors. It was instrumental in establishing a new design identity in Sweden, one that united elements of tradition and modernity. At a time when economic decline and post-war hardship dominated European discourse, the exhibition offered a positive and diverse perspective. A version of the carpet was presented as a wedding gift to the Crown Prince and Princess of Norway, Olav and Märtha. The Norwegian Royal Family commissioned another identical rug. The carpet is regarded as one of Märta Måås-Fjetterström’s most important works. \u003cbr\u003e\u003cbr\u003eThis carpet was crafted using the knotted pile technique, the most exclusive and time-intensive weaving method. Highly favored by the artisans, this technique involves individually hand-knotting the knots around a ruler before cutting it to create a smooth surface. The resulting texture is thick and raised, enhancing the depth and intensity of the colors. The dense knotting allows for highly intricate patterns. The layout of the carpet showcases a striking composition of abstract geometric shapes and figurative motifs. Dominated by natural muted tones that are undoubtedly Nordic, its most depicted horse figure in various constellations aligns with the meaning of “'Hästhagen” – Swedish for “Horse Pasture”. The rug is further framed by fringes on two sides. \u003cbr\u003e\u003cbr\u003eThe bottom of the carpet bears the inscription: \"MMF\" (Märta Måås-Fjetterström’s initials).  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBiography\u003cbr\u003e\u003cbr\u003eMärta Måås-Fjetterström was born 1873 in Kimstad, a small village located in Östergötland, Sweden. At the age of seventeen, she participated the School of Industrial Arts in Stockholm with a major in art and followed a training as an illustrator and drawing teacher. After she had graduated, she started working as a teacher in the weaving studio at the Lund Museum of Cultural History (Kulturen). She was commissioned by Georg Karlin, the founder of Kulturen, to create her first textile sketches. After some years, she became the director of the Malmöhus County Handicraft Association in Malmö. Both schools, and many other institutions like these in Sweden at that time, aimed at preserving the traditional principles of Scandinavian design as a response to progressive art movements that flourished in other European countries like the Art Deco movement. Måås-Fjetterström was at that time searching for new ways to improve and individualize the traditional methods and motifs she encountered. Her ingenuity and creative approach towards the textile arts were perceived as a threat to Hemslöjden's preservation of their traditional patterns and techniques, which is why she was fired in 1911.  \u003cbr\u003e\u003cbr\u003eShortly thereafter Måås-Fjetterström awaited a new opportunity and moved to Vittsjö where she met Lilli Zickerman (1858-1949), initiator of the National Association of Swedish Handicraft Societies. Together they directed a new weaving school where Måås-Fjetterström enjoyed her artistic independency. The school provided a workshop with skilled weavers who made it to weave the carpets and tapestries designed by Måås-Fjetterström. She developed techniques and patterns suitable for artistically produced rugs and tapestries, which were given titles and signed “MMF”. The ‘Blommande träd’ rug that is now on display is a great example of a design made by Måås-Fjetterström during this period.  \u003cbr\u003e\u003cbr\u003eIn 1919, at the age of 46, Märta Måås-Fjetterström opened her own company and a weaving studio in Båstad, Sweden. At this point, she would come to revolutionize the Swedish textile tradition. She employed over twenty skilled weavers, of which the first women were her former students from the Vittsjö weaving school. Her main sources of inspiration were the nature around here, oriental knotted rugs and old Scanian textiles. Måås-Fjetterström's designs continuously changed along with the world’s zeitgeist and aesthetics. When modernist and functional architecture flourished in the 1930s, her designs took a more simplistic turn by the implementation of balanced simple lines and shapes executed in a few colors. She gained huge success on an international scale and exhibited at prominent art and industrial exhibitions in various cities located in Europe and the United States.   \u003cbr\u003e\u003cbr\u003eTowards the end of 1940, she wrote her lifelong friend Carl Malmsten (1888-1972): “But the road is long and instead of decreasing, the projects and sketches in my drawer accumulate, as if waiting to be realised. Before you can finish, life is over. I wish I could continue on another planet.” Måås-Fjetterström dies in 1941 after a period of illness, only 67 years old. She left almost 700 sketches of patterns for rugs and fabrics and working instructions, but not to forget, a hard-working team of professional weavers. The company was about to close its doors until Carl Malmsten, among others, arranged a fundraiser that saved the collection and the studio. In January 1942, AB Märta Måås-Fjetterström is launched and is directed by the textile artist Barbro Nilsson between 1942 and 1970.  \u003cbr\u003e\u003cbr\u003eUp until this day, the studio is widely recognized for its carpets and tapestries of remarkable skillful craftsmanship and designs of artistic and cultural value. Their approach to design and weaving is passed on from generation to generation. A team composed of well-educated weavers using the exact same techniques devised over 100 years ago.\u003cbr\u003e","brand":"Morentz","offers":[{"title":"Default Title","offer_id":53260416024919,"sku":null,"price":87500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0289\/5187\/1548\/files\/50118256_St_P_10.jpg?v=1775549365"}],"url":"https:\/\/www.morentz.com\/collections\/rugs-and-carpets-old-1a64fc.oembed","provider":"Morentz","version":"1.0","type":"link"}