Literature:

The German Arts and Crafts 1906. The Third German Arts and Crafts Exhibition Dresden 1906, Munich 1906, p. 262 (image of the dinner service). Karl H. Bröhan, Arts and Crafts 2. Art Nouveau, Werkbund, Art Deco. Metal, Porcelain. Vol. 2, Bröhan Collection, Berlin 1977, p. 311 (image of deep plate), cat. no. 449 Art Nouveau. Europalia 77. Exhibition cat. Paleis voor Schone Kunsten Brussel, Brussels 1977, p. 189 (b/w image of the plate variant), cat. no. 362 Johannes Just, Meissen Art Nouveau Porcelain. Leipzig 1983, (image of tureen, sauce boat and plate), cat. no. 91 Klaus-Jürgen Sembach, Birgit Schulte (ed.), Henry van de Velde. A European artist of his time. Exhibition catalogue Karl Ernst Osthaus Museum, Cologne 1992, p. 292f. (illustration of parts of the dinner service) Karl H. Bröhan (ed.), Porcelain. Art and Design 1889 to 1939 from Art Nouveau to Functionalism. Vol. II, inventory catalogue Vol. V.2 Bröhan Museum Berlin, Berlin 1996, p. 56-58 (on the history of the creation and detailed bibliography), p. 58 (illustration of tureen, cf.), p. 62 (illustration of coffee set, cf.), cat. no. 26;31 Thomas Föhl, Sabine Walter (ed.), Passion, function and beauty. Henry van de Velde and his contribution to European modernism. Exhibition catalogue. Neues Museum Weimar, Weimar 2013, p. 194 (Fig. Table setting for 10 people, SAM collection), cat. no. 285 Thomas Föhl, Antje Neumann (ed.):, Henry van de Velde. Spatial art and arts and crafts. A catalogue raisonné in six volumes. Volume III: Ceramics., Leipzig: Seemann 2016, p. 392 (Fig. Dinner plate), p. 399 (Fig. Soup plate), p. 425 (Fig. "Salad bowl"), cat. no. III..1.6; III.2.1.9; III.2.1.23 Exhibitions The Third German Exhibition of Applied Arts in Dresden 1906; "Art Nouveau", Paleis voor Schone Kunsten Brussel, Europalia 77, Federal Republic of Germany, Brussels 1977; "Passion, function and beauty. Henry van de Velde and his contribution to European modernism", Neues Museum Weimar 2013 The service for Meissen was Henry van de Velde's first design work in porcelain and that meant paying the price for his mistakes. The manufactory approached him in February 1903 because, in addition to the tried and tested onion pattern, they wanted to introduce modern everyday porcelain based on designs by well-known artists, in response to criticism at the World Exhibition in Paris in 1900.