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Abb. 117. Josef Hoffmann, Blumenvase (Werknummer S 15), Silber, kalkuliert August 1903 (WWMB 
4, S. 37). - ÖMAK, Inv. WWMB 4, S. 37 
Fig. 117: Josef Hoffmann, flower vase (serial number S 15), silver, calculated August 1903 (WWMB 
4, p. 37). - ÖMAK, Inv. WWMB 4, p. 37 
ner Werkstätte artists Moser and Hoffmann ended with the Trade Marks Act of the time. 
The act stood in the way of a monogram of modern design because registered mono- 
grams had to be as “artistically” designed as possible, which meant they were offen 
“ornamented” beyond recognition. Until the late 19th Century, and even in the 20th Cen 
tury, specialized publications on monograms Show pages and pages of ornate, inter- 
twined letters which really are scarcely legible. Compared to these, the WW monogram 
with its clear interlocking letters and square frame is like a Signal which for decades 
proved to be an effective trade mark. 
I do not wish to maintain that the Rose Mark evolved as a trade mark of the Wiener 
Werkstätte solely due to outside influences, but the trade mark regulations of the time 
were certainly partly responsible for the fact that the first trade mark registered by the 
Wiener Werkstätte was a stylized rose, and that the marking of many articles produced 
by the Wiener Werkstätte began with this trade mark. The design of the Rose Mark really 
was so pictorial in the literal sense of the word that it was used in staggered patterns of 
several different shades of colour for the decoration of end-papers and wrapping paper 
(Fig. 104, p. 102). The Rose Mark and its mirror image formed part of a fire screen 
(Fig. 103, p. 101), and it was occasionally imprinted on the fittings of furniture locks 
(Fig. 105, p. 103). Many articles of a wide ränge of materials (metal, bookbindings, etc.) 
also bear the Rose Mark. 
113