Wiener Werkstätte Furniture was made by cabinet-makers such as Portois & Fix, Johann Soulek, Anton Herrgesell, Anton Pospisil, Friedrich Otto Schmidt and Johann Niedermoser. Some historians now believe that there are no existing original products of the Wiener Werkstätte Furniture division. From 1905, the Wiener Werkstatte produced handpainted and printed silks. The Backhausen firm was responsible for the machine-printed and woven textiles. In 1907, the Wiener Werkstätte took over distribution for the Wiener Keramik, a ceramics workshop headed by Michael Powolny and Berthold Löffler. And in the same year Moser, embittered by the financial squabbling, left the Wiener Werkstätte, which subsequently entered a new phase, both stylistically and economically. Expansion The founding of textile and fashion divisions in 1909 and 1910 brought a further shift in the Wiener Werkstätte's emphasis. After a close brush with bankruptcy in 1913, Wärndorfer left for America and the following year Otto Primavesi, a banker from Moravia, took over as chief financier and patron. During and immediately following the First World War the Wiener Werkstatte was influenced by a new generation of artists and craftsmen, especially Dagobert Peche, who became creative director in 1915, and the director of the Zürich branch in 1917. Peche's playfully theatrical aesthetic reimagined decorative motifs of the Baroque and Rococo in a modern way. After the war, material shortages encouraged experimentation with cheaper, less durable materials such as wood, ceramics and papier-mâché. One of the ceramics contributors was Walter Bosse. At the beginning of the 1920s, Philipp Hausler attempted to eliminate the "bad habits" and "extravagances" which devoured so much money by broadening the workshop's base. The WW artists, however, insisted upon their accustomed exclusivity, and Hausler left in 1925." Attempts to expand the workshop's scope—adding such items as wallpaper to its limited program of industrial licenses, and establishing branches in Berlin, New York and Zurich—were not particularly successful. The Werkstätte's financial situation grew desperate due to the effects of the war and the onset of the worldwide Depression in 1929. In the 1932 it was compelled to declare bankruptcy and closed. Legacy With its avant-garde, artistic, yet timeless designs, the Wiener-Werkstaette-Stil influenced generations of architects and designers in the 20th century. The Bauhaus in Germany, Art Deco in America from 1920 to 1940, Scandinavian design from 1940-1960 (see for example Arne Jacobsen), as well as Italian design (see Mario Bellini) between 1960 and 1980, were all strongly influenced by