A recent exhibition of work by Archibald Knox at the Manx Museum put the under-appreciated polymath – responsible for some of Liberty’s best-known designs – on the map forever

Archibald Knox – perfect polymath

Archibald Knox (1864-1933) has been described as one of the most under-appreciated of any British artist/designer. There are a number of reasons why. He was a deeply religious and reserved man, never happier than when walking the windblown cliffs around his home on the Isle of Man, rather than pontificating in the fashionable London salons.

But, far from a household name, either now or in his lifetime, he was one of the most influential figures in the British art nouveau and arts and crafts movements of the late 19th and early 20th century. Through a partnership with Liberty & Co., Knox’s work – including the retailer’s popular Cymric range in sliver and its Tudric designs in pewter – achieved widespread acclaim, helping establish Liberty’s avant-garde reputation.

But pieces were unstamped by their designers, meaning Knox remained largely unrecognised in his lifetime.

The largest ever exhibitions of his work was recently on display at the Manx Museum featuring more than 200

pieces from collections across the British Isles. Curator Katie King called it: “the world’s largest-ever showcase of Archibald Knox’s work”, including unique pieces, many of which have never been seen in public.

Island life

The Knox family moved from Kilbirnie in Scotland in 1856, partly for family reasons – Archibald’s aunty Margaret married a local fisherman – and partly economic, Archibald’s father William, a cabinetmaker, saw the employment opportunities the island offered.

William Knox worked as a sail maker before setting up a marine repair service in Douglas, employing three of his eldest sons. But Archibald, the fifth son, preferred to draw and paint and sketch the nearby harbour and quayside.

Possibly unappreciated at home, at school his talent did not go unnoticed. In 1880, encouraged by his headmaster Canon John Quine, 16-year-old Knox enrolled at the newly-opened Douglas School of Art.

The school followed the same curriculum as the more famous Glasgow School of Art that was at the heart of the modern movement. By 1882 Knox had been appointed a pupil-teacher in exchange for free tuition. Here, as a young man, Knox became acquainted with Douglas’s artistic circle, guided by Quine who was an enthusiastic antiquarian and amateur archaeologist.

Celtic crosses

Mentor and mentee explored various sites across the island, including the ancient carved Celtic and Norse stone crosses which were to form such an important part in his work. Since the 6th century, crosses have been used on the island as memorials and gravestones. Knox and Quine would have been familiar with many of the stones, usually to be found in local churchyards.

Knox soon become a great collector of geological specimens, an interest which would later account for the use of semiprecious stones in later metalwork designs.

Alongside his growing fascination with the island’s history he met the Kent-born architect Mackay Hugh Baillie Scott (1865-1945), who had settled on the island. Experience of architectural plans would increase Knox’s knowledge of design drawing, seen in his later work.

Silver Studio

In 1897 at the age of 33, Knox left the island, taking up a teaching post at Redhill School of Art in Surrey, where fellow-Manxman Alfred James Collister was the principal.

It was around this time – while continuing as a teacher – Knox began his foray into design. His first work was for the Silver Studio – a successful commercial design studio started by Arthur Silver in 1880 which specialised in textiles and wallpaper, and was a supplier to Liberty & Co.

How Knox came to be hired by the Silver Studio is unclear. Collister, who was well connected with the London art scene, may have put in a word for Knox. And, either prior to joining, or soon after, the Manxman formed a close relationship with the Silver Studio’s then senior manager, Harry Napper.

Liberty & Co.

At the turn of the 19th century, Liberty & Co. was looking for leading designers to join its studio system, which was responsible for producing furniture, textiles and metalwork, putting the retailer at the cutting edge of modern design.

Founded in 1875 by Arthur Lasenby Liberty, the Regent Street retailer began as an “Oriental warehouse”, selling imported fabrics and ornaments from Japan and the Middle East. But it was not enough for Liberty who said: “I was determined not to follow existing fashions, but to create new ones.”

By championing upcoming artisans Liberty & Co. swiftly became one of the most fashionable places to shop in London and the “Liberty look” was all the rage.

In a short space of time, the designs became commercially popular and won critical acclaim in Europe (although Liberty was swiftly to disown the European art nouveau style, which its products had done much to inspire).

Move into silverware

After textiles and furniture, the next artistic project for Liberty & Co. was silver, an area already much rejuvenated by the work of the Guild of Handicrafts led by Charles Robert Ashbee. However, the handmade ethic of the guild became the reason for its economic downfall as Liberty & Co. looked for a more commercially-friendly mode of production able to produce sizeable numbers.

Liberty also sought a new style of design – a British take on the prevalent European art nouveau, which still had a nod to the medieval-inspired work of William Morris and the arts and crafts movement. The years 1898-1899 saw the birth of Liberty’s range of silverware known as Cymric (Koom-ric) which was to form the cornerstone of its silverware.

Arthur Liberty appointed the Welshman John Llewellyn to the board of directors in 1898 who was much taken by the designs submitted by Knox (who, in turn, was gratified that the new range was to have a Celtic ring to them). Soon the Manxman’s designs became the artistic lynchpin of the new silver as he turned out silver cups, clocks, vases, boxes, tankards, jugs, tea and coffee services, spoons and belt buckles. The finest were embellished with blue and green enamel, turquoise and lapis lazuli.

Knox on Wood

Knox also produced furniture at the Sunnyside Workshops in Douglas, which he co-founded in 1899 with his friend and patron, Wilson James Ashburner. The arts and craft-style workshop sought, in part, to emulate the late William Morris, by employing skilled artisans, and its work went on show at the Isle of Man’s Fine Art & Industrial Guild Exhibition in 1905, where the Isle of Man Examiner praised a Knox-designed hat stand and hall seat for its originality and perfect proportions.

But the business struggled to attract commercial interest, and it closed when Knox returned to teaching in Surrey, much to his dismay.

Knox-designed furniture is now exceptionally rare and sought after by collectors.

Buying Knox’s art

Despite his exquisite metalwork, above all Knox considered himself an artist and teacher, inspired by a deep love of the Isle of Man.

Every Sunday, after church, Knox would visit the island’s windswept and treeless interior, or perch above its rocky bays, often waiting for hours for the right alignment of light and weather to best catch the effect rapidly in watercolour.

He painted avidly throughout his life (his work for Liberty only accounting for some nine years), generally Manx landscapes, more rarely seascapes and boatyards.

While living in Sulby (from 1902-1905) Knox wrote: “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 their land is beautiful.”

Sold for £10

Known for his watercolours, Knox also produced a limited number of oil paintings. While his watercolours are distinct for their sense of light, his oils are darker and more sombre in tone. Due to their prolific nature, Knox’s art is not uncommon.

Prices vary from low thousands to over £10,000 depending on condition and subject. His paintings are rarely signed (he didn’t intend them to be sold) so signed paintings are and more expensive.

Provenance is important. Collectors should look for de-accession labels from The Manx Museum. The museum inherited so many of Knox’s paintings it sold off a large number in the 1970s for, reputedly, as little as £10.