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. The Archibald Knox Society was founded in 2006. The aim of the Society is the education of the public worldwide in relation to all matters concerning the legacy of Knox. [42] To this end the Society has given lectures, (including an international tour), published journals and helped to organise exhibitions. Archibald Knox's influence on buildings in the capital" (PDF). Isle of Man Examiner. 18 June 2019. pp.14–15. a b "Archibald Knox". Mannin. 7: 381 et seq. May 1916. Archived from the original on 7 October 2012 – via Isle of Man.

The 15th and 16th centuries are described as the Golden Age for pewter manufacture, a time when even grand houses used pewter as well as silver for domestic use and a time which preceded the introduction of mass-produced ceramic wares, which ultimately replaced pewter, especially plates and drinking vessels. 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]

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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. 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 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]

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] Rosemary D.Wren "New Light From Old Records - Archibald Knox's approach to his work", in Martin, S. (ed) (2001) Archibald Knox, Artmedia, London 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] Knox has been described as modest and monk-like: "almost Cistercian in his silence". [38] He has also been described as gruff and stubborn. However, he did have close friendships, such as with Canon Quine [15] and A. J. Collister. He was an active member of various societies such as the Isle of Man Antiquarian Society and the Freemasons. He was a sidesman at his local high Anglican Church, St Matthew's. [26] He also wrote a number of articles in journals to communicate his ideas.

Sometimes the makers added touch marks resembling silver hallmarks, usually four in number. These faux hall marks were not recognised by The Worshipful Company of Pewterers or supported in law. 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". 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. 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

Arthur Lasenby Liberty's grave at St John the Baptist Churchyard, The Lee – Archibald Knox". www.archibaldknoxforum.com . Retrieved 18 October 2023. Pewter is an alloy of tin hardened with small amounts of other metals such as copper, lead, zinc, antimony and sometimes silver. The craft of pewtering started in antiquity - the earliest known item, a flask dating from c1450 BC, was found in Egypt. These designs spanned across multiple mediums, from metalware to terracotta, jewellery to graphic design, all of which were then manufactured by specialist factories. None of the pieces are signed by Knox, as Liberty & Co. had a strict policy of anonymity for their designers. Knox’s best-known designs were those he produced for their Cymric (precious metal) and Tudric (pewter) ranges.In the year 1348 Articles were granted to the Worshipful Company of Pewterers in London, which enabled them to control the quality of pewter. Two grades of pewter were specified, and then later a further grade was added, and these three grades were adhered to until the 20th century. as "the poor man's silver", production spread throughout the country with a wide range of mainly domestic goods being made.