Archibald Knox Pewter Clock Art Nouveau Design | Silver Colour 13.5cm H | Made in England | AK36

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In 1897 Knox began working for the Silver Studio, who were designing for Liberty. [22] In 1899 he left with Collister for the Kingston School of Art. [21] His design talent covered a wide range of objects, ornamental and utilitarian, and included silverware and pewterware, jewellery, inkwells, boxes, gravestones, watercolours, graphic designs, [8] calligraphy, [8] a house design, fonts and even bank cheques. [9] The appeal of pewter comes mainly from its good proportions and functional design. Items from the 17th and 18th centuries are obviously much rarer than those of the 19th century, which form the basis of most collections, and when collecting pewter became popular. The century culminated in the formation of The Society of Pewter Collectors in 1918, which is still operating today, under the name of the Pewter Society. To celebrate the 150th Anniversary of Knox's birth, the Isle of Man Post Office issued a set of 10 stamps featuring his designs, released in April 2014. [43] Also in 2014, an exhibition exploring the work of Knox and his Celtic contemporaries ("Celtic Style") was held at the House of Manannan, Peel, Isle of Man. A commemorative concert was held at Peel Cathedral featuring newly composed harp music and also including Manx Gaelic choir music. An exhibition of Knox's work was held at the 42nd Olympia International Art & Antiques Fair in London in 2014.

Knox had an innovative method of teaching art: he collected a set of three thousand glass slides, of examples of design work, to show his students. While showing these he encouraged the students to consider the design principles involved in each, and whether the design met the functional requirements. [27]the places painted are within short walks from my home, passed often; one day something never seen before; some new appearance of colour and the bends of the sky. It may not be seen again; shortly it will fade and disappear, and in an hour forgotten. Such sights as they, as men over unimaginable centuries have looked at and learned to know their land is beautiful. [13]’

The designs for the 'Tudric' range, as with Liberty's 'Cymric' range of silver and jewellery, were supplied by the Silver Studio. The Studio had offices in Brook Green, Hammersmith, London. Attributing individual designs of Liberty's wares to particular designers was hampered by Liberty's policy of concealing their identities. Nonetheless, subsequent research has identified the principal contributors. From the Silver Studio they included Rex Silver (1879-1965), the head of the Studio after 1896, his brother Harry Silver (1882-1972), Harry Napper (1860-1930) and John Illingworth Kay. The most prominent, however, was Archibald Knox, a gifted designer from the Isle of Man who started working for the Studio in 1898. Archibald Knox Celtic Style Celebrating the 150th Anniversary of his Birth". Isle of Man Post Office. Archived from the original on 22 March 2014 . Retrieved 21 March 2014. In 1896 or 1897 Knox was working for / studying with the pioneering designer Christopher Dresser in London. [20] In 1897, Knox started teaching at Redhill School of Art where his friend from art school A. J. Collister was principal. [21] So when one thinks of collecting Archibald Knox you may want to start by thinking what of his many design or artistic areas you wish to focus on, which in turn may be dictated by budget.

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Archibald Knox (9 April 1864 in Cronkbourne village, Tromode, Braddan, [1] Isle of Man [2]– 22 February 1933 in Douglas, Isle of Man), was a Manx designer of Scottish descent. He is best known as being Liberty's primary designer at the height of their success and influence upon British and International design. [3] Knox's work bridged the Arts and Crafts Movement, Celtic Revival, Art Nouveau, and Modernism. He is seen as a leading figure of the Modern Style movement. [4] [5] On Sundays Knox would go to the countryside to paint. He would often wait for hours for the right effect of light and weather, and would then catch the effect rapidly in watercolour. He has been described as "The man who could paint the wind". While living in Sulby, [ when?] Knox wrote of his watercolours that Knox told his students a large number of maxims that give an insight into his design principles. Perhaps the primary one was

Knox was born on the Isle of Man to Scottish parents, and his Celtic heritage exerted a powerful influence on the young designer. Not only did he introduce Celtic motifs into his designs, but he also became a published scholar of Manx Celtic crosses and standing stones and collected Manx artefacts. a b "Archibald Knox". Mannin. 7: 381 et seq. May 1916. Archived from the original on 7 October 2012 – via Isle of Man. as "the poor man's silver", production spread throughout the country with a wide range of mainly domestic goods being made. Knox starting teaching at Douglas School of Art in 1884, while still a student. The Arts and Crafts architect Baillie Scott started classes at the Art School while Knox was teaching there, and Knox worked with him on some interiors. [17] [18]This is perhaps what Knox is best known for and there are several important points to consider as a potential collector. Knox only designed, never made, silver for Liberty & Co and, with a very few exceptions, none of his pieces, or designs, are signed by him. So almost everything that is deemed Knox is, to varying degrees of certainty, attributions. To add to this, Knox’s designs were adapted by Liberty, so you have many pieces which may have Knox motifs, but where the entirety of the piece is not by Knox. In general, pieces which are clearly and wholly by Knox are more expensive, and within that category, those that are most radical and modernist are the most expensive. In 1912, Knox resigned from his post as Head of Design at Kingston School of Art following criticism of his teaching. About twenty of his students also quit and set up the Knox Guild of Design and Crafts. Knox was the Master of the Guild and would return to Kingston to exhibit with them. In 1913, he spent a year in the United States, and on his return to Man acted as a censor of internees' letters during World War I. [32] In 1919, after the War, he again took up teaching art at some of the Isle of Man's schools until his death. [33] Knox produced a variety of design work on the island for publications, illuminations, and gravestones. [34]