THE ROSE MARK AND THE WIENER WERK STATTE SIGNET 
The records show that this combination occurred on metal objects from about 1909/10 
onwards. The signet alone may have been used earlier as a coloured stamp on white lac- 
quered metal objects (e.g. the familiär lattice-work articles), but without the Rose Mark. 
The signet stamped on the bottom of some metal objects is conspicuously large 
(Figs. 236, 237, p. 204), all the other marks appearing tiny by comparison. The marks are 
commonly arranged in the form of a cross, horizontally or vertically. Three marks used 
from about 1909/10 form a repetitive canon: designer’s monogram, Rose Mark and sig 
net (Figs. 244-266, pp. 210-223), with the signet usually in the middle. It is remarkable 
that the craftsman’s monogram is missing from all the illustrations mentioned above. 
This group also includes a box which was calculated by the Wiener Werkstätte in 1904, 
1909 and 1914 (Fig. 251, p. 216). In the case of articles which were produced for a longer 
period of time (which was frequently the case with successful models), it has so far 
scarcely been possible to put earlier or later variations in a certain chronological order. 
The results of my research work have enabled me to make certain differences with re- 
gard to the metal objects of the Wiener Werkstätte. This also applies to the box men 
tioned above (Figs. 251, 252, pp. 216-217). At least we do not yet know of any article 
which can be dated with certainty prior to 1909 and which bears the above-mentioned 
combination of three marks (Fig. 253, p. 217). 
The marks on the many parts of a tea Service (Figs. 258-262, pp. 220-221) and on the 
hammered surface of an inkstand (Figs. 263-266, pp. 222-223) are almost identical. Al- 
though the serial numbers of these pieces have not yet been identified, they are similar 
in shape to objects of polished brass (serial numbers M 1798, M 1868, WWMB 34, 
p. 1797, p. 1868, both calculated around 1911). 
202