A. Michelsen was founded in Copenhagen in 1841 by Anton Michelsen, one of the most important figures in the development of Danish silver. Born into a family of metalworkers, Michelsen trained as a goldsmith in Denmark before continuing his education in Berlin and Paris. His experience abroad introduced him to the technical precision and artistic ambition of the leading European workshops, qualities that would define the firm throughout its history.  

Shortly after opening his workshop on Gothersgade, Michelsen attracted the attention of the Danish royal family. In 1848 he was appointed Jeweller to the Royal Danish Court, establishing a relationship with the monarchy that became central to the house. A. Michelsen was entrusted with the production of royal orders, medals and ceremonial objects, placing the workshop at the highest level of Danish decorative arts. In 1855, Anton Michelsen was the only Danish silversmith represented at the Exposition Universelle in Paris.  

Following Anton Michelsen’s death in 1877, the company passed to his son Carl Michelsen. Rather than relying solely on its established reputation, Carl developed the workshop through collaborations with many of Denmark’s leading artists, architects and designers. Among the most significant was Thorvald Bindesbøll, whose expressive, organic designs helped move Danish silver away from traditional historicism and toward a distinctly modern national style.  

During the twentieth century, A. Michelsen continued to work with an unusually broad group of Danish designers, including Kay Fisker, Svend Hammershøi, Arne Bang, Ib Lunding, Ole Hagen and Erik Herløw. The company’s production ranged from substantial hand-wrought silver and formal tableware to restrained modernist objects and finely enamelled jewellery. Although the individual designers brought different ideas to the workshop, the work remained connected by clarity of form, careful proportion and an understanding that silver should be both functional and enduring.  

A. Michelsen occupied a distinctive position in Danish design. It was at once a royal court silversmith, a traditional family workshop and an important platform for progressive artists and architects. Its history closely follows the development of Danish decorative arts, from nineteenth-century ceremonial silver through the organic forms of the Arts and Crafts movement and into the functional modernism of the twentieth century.

In 1985, A. Michelsen became part of Royal Copenhagen alongside Georg Jensen, bringing more than 140 years of independent production to a close. Today, pieces bearing the A. Michelsen mark remain valued not only for the quality of their craftsmanship, but for their place within the wider history of Danish design.  

The Tulip flatware pattern was designed for the Copenhagen silversmith A. Michelsen by Danish architect and designer Ole Hagen. Created during the postwar period, the pattern reflects a moment when Danish design was moving toward greater simplicity, with form determined by function, proportion and the experience of an object in the hand.  

Tulip was conceived as a complete reconsideration of traditional table silver. The elongated handles are gently modelled rather than decorated, with a subtle sculptural profile designed to sit naturally in the hand. The center of gravity was intentionally drawn back toward the handle, improving the balance of each piece. At the junction between the handle and bowl, the spoons were formed with a shallow concave section that increased resistance to bending without adding unnecessary weight.

The individual forms were developed around their use. Spoon bowls are oval, relatively shallow and reinforced at the leading edge to reduce wear. The forks are broad and compact, allowing them to function partly as both fork and spoon, while the outer tines were shaped to assist with cutting softer foods. The pattern was also designed around economy at the table, with individual pieces intended to serve more than one purpose. A salad fork could also be used for luncheon or fish service, while the cake fork could serve for oysters or as a child’s fork.

Although named Tulip, the pattern avoids literal floral ornament. Its reference to the flower is expressed through proportion and silhouette: slender stems widening gently into the functional end of each piece. The result is restrained but not severe, combining the precision of modern Scandinavian design with the weight and permanence of hand-finished sterling silver. Surviving services were produced in an unusually broad range of forms, including dinner and luncheon pieces, fish servers, bouillon spoons, iced-tea spoons, lemon forks and demitasse spoons.  

Tulip represents A. Michelsen at its most modern. Rather than relying on ornament or historical references, the pattern finds its character through balance, material and careful consideration of use. Its appearance was intended to improve with handling and age, allowing the silver to develop the soft surface associated with generations of use. It remains one of the house’s most accomplished expressions of Danish modernism: practical, quietly sculptural and designed for everyday life.

The items are marked with the Michelsen maker mark, as well as Denmark and Sterling Made in Denmark, Circa 1960's. The condition is good overall. There is some wear to some of the pieces they are ready to be enjoyed! They can be professionally polished to a "brand new" look, but it is not recommended. The set came from the first, original owner who bought them in Denmark back in the 1960's. It is complete with the original brochure and even price list! A very rare set in fabulous original condition.

This is the copy from the original brochure from the maker:

"Tulip is the set of our day in design, function, and quality

Between the bowl and the handle the spoon is cavetto-shaped, whereby great resistance to bending is attained without any increase of weight at this point, which is so sensitive to the balance.

The bowl is oval, not too deep and, with a view to wear, reinforced in front. The fork is broad and short, its function being that of a spoon/fork. The outer prongs are skived to make it possible to cut with the fork (lettuce, potatoes, etc.).

The profile of the handle is the result of numerous experiments to make it fit in the hand. The wrought form gives a better balance since the center of gravity has been drawn back.

The new set is easily cleaned (washed, wiped, and polished). It is dimensioned for strength where strength is needed. Its appearance will improve with use. The individual components of the set are so designed that it is possible to manage with a minimum of things: the salad fork may be used as luncheon fork and fish fork, the cake fork also as oyster fork or as a child’s fork, the tea spoon large as a child’s spoon, etc."

The set comprises of the following:

Serving Pieces

• Cold Meat Fork
  
• Serving Spoon Small Oval
• Large Serving Spoon
• Pie Server
• Fruit Knife
• Lemon Fork
  

Flatware Pieces

• Dinner Knives  8 1/2" x 12
• Dinner Forks 7 1/2" x 12
• Dinner Spoon 7  x 12
• Teaspoons 6 1/4" x 12
  
• Salad Fork 6 1/2" x 12
• Butter Knife  6 1/4 x 12