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Abb. 115. Kolo Moser, Entwurf für eine Schachtel (Werknummer L 7); Stempel: L, 7, KM-Mono- 
gramm, bez: „SCHACHTEL 2 MAL ZV ÖFFNEN“; Höhe der Schachtel: 16,5 cm. - ÖMAK, Inv. K.l. 
12564/6 
Fig. 115: Kolo Moser, design for a box (serial number L 7); stamp: L, 7, KM monogram, designa- 
tion: “SCHACHTEL 2 MAL ZV ÖFFNEN”; height of box: 16.5 cm. - ÖMAK, Inv. K.l. 12564/6 
it was probably at about the same time as the Rose Mark was entered in the Register of 
Trade Marks. However, the monogram was not recorded as a trade mark in the year 
1903. 
From 1903 to 1932 many variations of the monogram were applied in every conceivable 
manner (punch, adhesive label, etc.) to articles, printed forms, all kinds of business 
papers, etc. It was not applied only to metal Objects, as was permissible with a registered 
hallmark, and the shape of the monogram had also evolved by 1903. The significance of 
the rose as a symbol of the Wiener Werkstätte has still not been discovered, nor the 
reasons for using a stylized rose as a trade mark which was not nearly as effective as a 
mark of the Wiener Werkstätte as the double W monogram. 
Why, then, should the first trade mark registered by the Wiener Werkstätte have been a 
stylized flower with much less direct association with the Wiener Werkstätte enterprise 
than the famous monogram? The reasons can be found not so much in Kolo Moser’s or 
Josef Hoffmann’s conceptions of a trade mark as in certain regulations of the Trade 
Marks Act. How often decisions in the artistic sphere are determined by unartistic, 
rather prosaic reasons! As far as their trade mark was concerned, the freedom of Wie- 
111