It has been speculated that pâte-sur-pâte may have been in production at the Berlin factory by 1880, though it likely began being produced in larger quantities in about 1887 with the appointment of Professor Alexander Kips as art director. Unlike at the Meissen factory, artists at Berlin were permitted to sign their work, as seen on the present chargers. We know of artists that worked in this material from surviving pieces which are monogrammed🍌 or signed in full,ꦅ which include Friedrich Heinrich Hermann Monno, C. Schräder and Herman Thiele.

A near identical example to the dish of Venus scribing, also signed by Dietrich though undated, was sold at Skinner, Boston, January 14, 2012, lot 830. A third, dated 12 July 1890, is in the collection of the National Museum of American History, Washington, D.C., illustrated in Bernard Bumpus, Pate-sur-Pate: The Art of Ceramic Relief Decoration, 1849-1992, London 1992, p. 192.