Shops with history – sundry goods in Vienna



During our photographic explorations of Vienna we have repeatedly been forced to note the disappearance or, alternatively, the transformation and conversion of traditional businesses and shopfronts. We have taken this as an occasion to capture still-existing businesses on film, in the form of a work in progress. When possible, we would additionally like to strike up a conversation with the owners of each of these businesses.

A business’s window display is its most important space to present itself and draw the attention of passers-by to its array of products or services. An indivisible unity is formed by the surrounding framework, the entrance and the display extending into the interior. It is the first, usually fleeting impression that decides whether passers-by pause and whether their attention is attracted.

In Vienna, shopfront architecture has a long and remarkable tradition: Adolf Loos, Otto Wagner or Josef Hoffmann for earlier examples and Hans Hollein, Hermann Czech or Coop-Himmelblau for the later ones – to provide just a brief sampling. Our interest is not so much in such classics of shopfront design – instead, we want to capture those ordinary businesses, little groceries and service providers catering to everyday needs which are past their prime, but are still there. They can be found in every district of Vienna and in all kinds of locations. Their shopfronts stick out among those of the surrounding businesses. They are architecturally idiosyncratic and unique, but often of only minor interest in terms of history or aesthetics. For all kinds of different reasons, these businesses have been able to intuitively stir our interest: through their overall appearance, through a corresponding shopfront design, through their displays or through typographically interesting or unusual lettering. In some cases, however, it has also simply been the singular nature of the goods or services offered for sale.

In Vienna in recent years – alongside the determined persistence of long-established shops – two tendencies have become particularly apparent. On the one hand, the silent and unsung disappearance of old businesses – together with their shopfronts – and, on the other hand, the preservation of shopfronts of this kind through new tenants, typically accompanied by a metamorphosis of the area of business. Only in the rarest cases does the exterior then continue to correspond to the interior: it becomes a set-like frame for new designer shops, fashion shops or cafes in retro design.


The outward appearance of shopfronts and business’s displays – with the expansive and uninterrupted glass fronts in the form that we know them today – were shaped above all by the development of the corresponding types of glass. A substantial step had already been made at the end of the 17th century, when the Frenchman Bernard Perrot invented the glass-casting process. This process was further developed in the course of the Industrial Revolution. The manufacture of large, uniform and relatively thin glass plates first became possible at the beginning of the 20th century. From the 1960s onwards, this process was then replaced through the manufacture of so-called float glass, which was developed in England and is now utilised everywhere in connection with the familiar expansive glass fronts.

In the 18th and 19th centuries, window fronts divided up by lead – and later wood – muntins dominated the appearance of upscale commercial streets and the cosmopolitan shopping arcades of major cities. Ordinary businesses meeting everyday needs, as well as businesses in outlying districts and suburbs, presented their goods on the pavement in front of their establishment and on the opened wooden shutters of the entrance and the shop windows. It was thus necessary to walk into a business in order to form an opinion about the variety of goods being sold; however, within the shops’ interiors, the goods were also often organised more in the manner of a storeroom than in terms of an appropriate presentation for customers.

Until the beginning of the 20th century, ‘displaying’ something in the window or, alternatively, viewing it through this ‘display’ was usually a privilege reserved for the more elegant businesses and shopping arcades in the city centre. The establishment of the conscious presentation of goods in other locations and areas in businesses accompanied the continuing developments in the production of expansive glass fronts.
This new form of presenting goods – which also encompassed everyday and utilitarian objects, such as food, tableware, detergents, soaps, household furnishings and many other things – affected more than just the outward appearance of businesses. It also caused changes in their interiors: the disorienting storeroom became a sales establishment that sought to present its extensive range of goods just as appealingly in its sales room as in its display.

The awareness of the necessity of a appealing storefront and sales-room architecture continued to develop throughout many areas of the businesses. In this context, display window, shop sign and the doors of the entrance were subjected to a constantly continuing development: from small and vitrine-like windows to expansive displays, from painted sign to neon writing, from narrow entrance doors to accessible and generously proportioned entrance areas. This was always closely linked to a corresponding product presentation, which sought to win over its target groups through the appealing design of goods and packaging and through striking advertising.


Philipp Graf:

Interested in old structures and new architectures in Vienna and the world. For years a passionate photographer of the lettering of old shopfronts as well as street furniture related to all kinds of themes in Vienna.
From 2008 to 2010, the first collaborative project with Martin Frey: a photo documentary on Vienna’s Südbahnhof, the rail station torn down in 2010 in order to make room for the new Hauptbahnhof.

Martin Frey:

Realisation of a number of documentary photo projects, including those on markings related to Viennese cellars which had served as air-raid shelters (1992-2011) and on Vienna’s Südbahnhof (2008-2010, in collaboration with Philipp Graf)
In 2011, the first photographs were created for “Vienna windows – display in progress” – a photoblog on abandoned shopfront displays in Vienna, in collaboration with Hanna Schimek.

In 2009, he begins the long-term project “Döner macht schöner (with kebab you’ll need no make up)”, which explores changes in the appearance of Viennese (shopping) streets.

“The cheap-eaters” (2006–2008, in collaboration with Helmut Mörwald) was inspired by Thomas Bernhard’s novella of the same name. A hidden camera (a Nokia 6230i mobile phone)was used to create short photo stories about public canteens in Vienna and Berlin, some of which no longer exist.

vienna windows – auslage in arbeit @ tumblr
döner macht schöner @ flickr
die billigesser @ flickr


Additional literature:
Johannes Spalt. Portale & Geschäfte: Historische Wiener Geschäftsauslagen.
Vienna, Cologne and Weimar 1999.
Susanne Breus. Window Shopping: Eine Fotogeschichte des Schaufensters. Vienna 2010.

Photo credit:
Man in front of the display window of the company V. Mayer’s Söhne, k. u. k. Hofjuweliere
(specialising in medals and decorations), Stock-im-Eisen-Platz, Vienna.
Photo: Emil Mayer (between 1905 and 1914). Public domain.

Juwelier Wagner: 1010 Vienna, Kärntner Strasse 32. Storefront around 1940.
Wikimedia commons, CC-BY-SA-3.0:
by Juwelier Wagner (own work) [CC-BY-SA-3.0]