just as daring and revolutionary as the marks and signets already mentioned. Of these, 
the Rose Mark and the WW monogram are reproduced in various sizes and with differ 
ent proportions in the book of punches. 
THE WIENER WERKSTÄTTE MARKS AND THEIR DESIGNERS 
So far the archives of the Wiener Werkstätte have not yielded any indication of the ori- 
ginators of the marks and signets of the Wiener Werkstätte. The only Contemporary ref- 
erences are contained in the works of F. H. Ehmcke, who refers to Josef Hoffmann as the 
creator of the Rose Mark (Ehmcke 1921, p. 32). However, he mentions Kolo Moser in 
connection with the WW monogram and a signet of the Wiener Werkstätte (Ehmcke 
1921, p. 32, and Ehmcke 1925, p. 21). 
The typography of the Wiener Werkstätte will be investigated in another publication, but 
it is very probable that Moser was the author of the trade names and signets, and Hoff 
mann the author of the Rose Mark. In this connection Ehmcke refers to Mackintosh, 
who, “dispensing entirely with historical tradition, produced strictly functionally de- 
signed buildings, achieving effect through beautiful materials rather than decoration. In 
the same way as Mackintosh’s work had a decisive effect on the Viennese architecture 
of Hoffmann’s group, his typographical ideas also feil on fertile ground in Vienna. This is 
proved by all kinds of decorative experiments commonly referred to as ‘Viennese’. The 
mark of the Wiener Werkstätte is just one example of many.” 
Nevertheless, a comparison of Mackintosh’s lettering with Kolo Moser’s signet block 
shows up fundamental differences, which in Mackintosh’s typeface reveal a decorative 
factor almost counterpointed by the rigid structure of Kolo Moser’s clearly framed and 
arranged signet. The WW monogram is designed as the non plus ultra in maximum re- 
duction. The graphic symbol of the Rose Mark in the form of a stylized flower seems 
considerably more decorative by comparison. 
THE MARKS AS AN AID TO DATING - A WORKING THEORY 
In the following I shall attempt to apply marks as an aid to dating, drawing on my re- 
searches to do so. I should expressly like to emphasize that this is a working theory. I 
neither can nor want to Claim that it is generally valid, but I set out to develop a frame- 
work which may form the basis for a chronological Classification of articles produced by 
the Wiener Werkstätte. 
As far as the marking of handicraft products is concerned, there is a general trend 
which, with comparatively few exceptions, also applies to the Wiener Werkstätte: 
articles of precious metals are normally best marked, followed by objects of base 
metals; ceramics are followed by glassware, bookbindings and leatherwork. Textiles and 
furniture come at the end of this scale. 
The numerous designs and working drawings of the Wiener Werkstätte in the Austrian 
Museum of Applied Art are marked in many different ways. Some of them bear Wiener 
Werkstätte marks (Rose Mark, WW monogram) in the form of a stamp, and one very 
often encounters signets which are also contained in the various archive stamps. 
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