Anna Maria Thelott (1683–1710) was a Swedish artist. She was an engraver, an illustrator, a woodcut-artist, and a miniaturist painter.
Viola Hildegard Gråsten was a Swedish textile designer.
Louise Elisabeth Granberg, was a Swedish playwright, translator and theatre director.
Christina Wilhelmina Enbom was a Swedish operatic soprano. She was active at the Royal Swedish Opera in Stockholm in 1819–26, in 1830–41 and 1850–57. She was one of the most notable opera singers in Sweden during the 1830s.
Hanna Mathilda Winge, née Tengelin was a Swedish painter and textile artist. She was one of the five founders of the Swedish women's association Nya Idun.
Louise Nathalie Adelborg was a Swedish porcelain designer and textile artist.
Ulla Birgitta Eson Bodin née Ericsson (1935–2009) was a Swedish textile artist who designed textiles for everything from interior furnishings to costumes for the stage. For over 30 years, she worked at Almedahls AB where she became head designer. As professor of the Swedish School of Textiles at the University of Borås, she helped to establish the international reputation of her department as well as Sweden's association with smart textiles.
Kaisa Brita Melanton née Björklund (1920–2012) was a pioneering Swedish textile artist who is remembered in particular for the large, post-modernist works she created for local authorities, theatres and churches. She employed a variety of techniques including embroidery and weaving. From 1969 to 1979, she served as head of the textile department at Konstfack, the Swedish University of Arts, Crafts and Design, and in 1974 was elected a member of the Royal Swedish Academy of Fine Arts.
Elisabeth Margareta Glantzberg (1873–1951) was a Swedish textile artist, educator and fashion designer. After spending several years teaching weaving and promoting Swedish textiles in Boston, Massachusetts, at the beginning of the 20th century, she returned to Sweden in 1909 where together with Emy Fick she established the Birgittaskolan in Stockholm. In addition to providing courses, the Birgitta School served as a leading textile studio producing decorative works, tapestries and rugs. She went on to produce fashionable clothing there until the mid-1930s, based on Parisian trends in haute couture and everyday wear.
Emy Oscaria Charlotte Fick née Kylander (1876–1959) was a Swedish textile artist, educator and fashion designer. After completing her education with study trips to Italy, France and Germany, she returned to Stockholm where she worked with textiles in the Nordiska Kompaniet department store. While there, she met Elisabeth Glantzberg with whom in 1910 she established Birgittaskolan which not only offered courses but served as a fashion studio where textiles could be ordered. After breaking up with Glantzberg in 1914, Fick set up her own business which she called Santa Birgittaskolan. From the late 1920s, the company became recognized for its tapestries. After closing the establishment in the mid-1930s, Fick moved to Östergötland with her large collection of lace, clothes and furniture which she left to Östergötland Museum.
Maria (Maja) Sjöström (1868–1961) was a prominent Swedish textile artist from the 1890s to the 1930s. In particular, she designed intricate interior decorations for the new Stockholm City Hall. These included enormous silk tapestries which were woven at the Luigi Bevilacqua Textile Company in Venice. Following the opening of the city hall in 1923, Sjöström moved to Rome where she spent the rest of her life, ultimately in poverty, dismissed by the Swedes for her belief in Mussolini. Her reputation was however restored in the 2000s.
Emma Carolina Helena ("Lilli") Zickerman (1858–1949) was a Swedish textile artist who pioneered the Swedish Handicraft Association in 1899. In 1914, she embarked on the creation of an inventory of popular textile art in Sweden, documenting some 24,000 items with photographs and samples of threads by 1932.
Thora Kulle née Nilsson (1849–1939) was a Swedish textile artist who specialized in weaving. In 1880, together with her brother-in-law, she opened a weaving school in Lund which developed into a textile retail business with several branches, including one in Stockholm. Her work attracted significant attention at the Copenhagen's Nordic Exhibition in 1888. At the Paris World Fair in 1900, she was a awarded a gold medal.
Carin Helena Wästberg (1859–1942) was a Swedish textile artist who helped to revive interest in textile arts in Sweden inspired by local peasant techniques and the developments she had seen in England. As its leader from 1904, she developed the Friends of Handicraft association into the country's top textile producer, creating a new production technique in collaboration with Maja Sjöström. Under her leadership, the association produced many notable works for public buildings in Stockholm, including those she herself designed in 1915 for the Stockholm Court House.
Agnes Margareta Matilda Branting was a Swedish textile artist and writer. As director of the Friends of Handicraft association from 1891, she undertook developments in large woven tapestries with several prominent artists which led to Sweden's freestyle woven visual art. In 1904, she established the Licium workshop which produced religious and heraldic fabrics including flags and banners. She was also active in the preservation of textiles, establishing the Pietas society for this purpose. As a writer, she contributed articles on arts and crafts to Svenska Dagbladet and published books on textiles.
Agda Elisabeth Österberg (1891–1987) was a Swedish textile artist who was a prominent figure in the production of religious textiles. In 1933, she was appointed artistic director at Axevalla-Varnhem Slöjd. She took the business over in 1935, changing its name first to Firma Agda Österberg and later to Tre Bäcker, producing thousands of church textiles up to the 1970s. The firm also made rugs in Österberg's colourful abstract style.
Sigrid Birgitta Synnergren (1894–1986) was a Swedish textile artist who was active in the development of church textiles. After spending 10 years in Finland as principal of the Åbo Weaving and Sewing School, she returned to Sweden to head the Friends of Handicraft branch in Växjö where she produced textiles for churches in Småland. In 1939, together with Maja Andersson Wirde, she established the company Södra Sveriges Kyrkliga Textil for which she ran the Lund studio until 1967. In addition to decorative designs, Synnergren embroidered narrative scenes.
Eva Henriette Jancke-Björk (1882–1981) was a Swedish ceramist, painter and textile artist. She became a prominent porcelain designer, working for Rörstrand, S:t Eriks Lervarufabriker and Bo fajans before establishing her own business in Mölndal near Gothenburg. She produced simply designed bowls, flower pots and tableware, both decorated and monochrome. Jancke-Björk also painted watercolours, created textile patterns and worked with glassware. Her works are in the collections of the Swedish National Museum of Fine Arts and the Röhsska Museum.
Märta Lindqvist was a Swedish journalist, writer, and translator. She is best known as a film critic for Svenska Dagbladet.
