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] Knox died of heart failure in 1933 and was buried in Braddan Cemetery. His epitaph reads "Archibald Knox. Artist. A humble servant of God in the ministry of the beautiful".

W.H. Haseler of Birmingham, a firm of manufacturing goldsmiths and jewellers, manufactured the 'Tudric' range. The firm had formed a partnership with Liberty's in May 1901 to manufacture the 'Cymric' range of silver and jewellery, which Liberty had launched in 1899. 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] There are no hallmarks on pewter, although some pewter items have a touch mark, applied by a punch and which usually include the names or initials of the maker. Touch marks have no particular value apart from interest and a guide to the maker. A touch mark bears no relation to the quality of the alloy, and does not carry the same authority as the hallmarks used on gold and silver. Knox was part of a 'Manx renaissance' of culture and history led by antiquarians. They rediscovered, reconstructed and reinterpreted history and traditions to bolster Manx cultural distinctiveness and devolved political status in the face of economic and social influences from the British Empire and the thousands of visitors to the Island's booming tourism industry. [30] [8] [31] [ unreliable source?] This was part of a wider Celtic Revival echoed in smaller nations across Europe asserting their identities. a b "Archibald Knox". Mannin. 7: 381 et seq. May 1916. Archived from the original on 7 October 2012 – via Isle of Man.

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a b "Buildings at risk: Why we must recognise the work of Archibald Knox". www.iomtoday.co.im. 7 July 2019. Archived from the original on 28 April 2021 . Retrieved 22 April 2021. The other area to be careful of is enamels – this is of course a wider issue than for Knox. Beware “soft” (otherwise called cold) enamel restoration or outright augmentation. There is nothing wrong with restoration (augmentation is another matter) with soft enamels, but you should know what you are buying. A good UV torch will normally reveal all. Also look out for enamel onto pewter. You cannot enamel directly onto pewter, it has too low a melting point, so Liberty inserted enamelled copper roundels. Chronology: Archibald Knox 1864-1933". Archived from the original on 25 February 2016 . Retrieved 14 April 2016.

Knox had a profound and intertwining interest in the natural world and landscape, the spiritual life, and the history and art of the Isle of Man and particularly the early Celtic Christian Church. He described this connection in his illuminated 1913 poem "Renshent", written about an early Celtic Christian keeill (chapel) on the Isle of Man. [29] In 1975 the V&A Museum staged an exhibition of Liberty's designs. This started a slow increase in awareness of Knox and his work. [39] I would highlight two key areas. Archibald Knox suffers more than many from misattribution. Whilst Knox was the main designer for Liberty’s Cymric and Tudric range, he was by no means the only designer. There is an increasing trend to attribute everything in these ranges to Knox. In general, if an item does not have Knox’s classic Celtic entrelac or breath-taking modernism, be very sceptical, although it might still be by him, especially if an early design. Knox's hundreds of designs for Liberty made his style widely known, [6] though not his name, as Liberty kept their designers anonymous. Most of his work for Liberty was for the Tudric (pewter) and Cymric (precious metals) ranges. [ citation needed] The gravestone of Liberty founder, Arthur Lasenby Liberty, was designed by Knox. [7]In the early 20th century, the popularity of pewter was revived with the introduction of the Art Nouveau styles of Liberty's Tudric range. 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. 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] 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] 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.