Pewter was described by author and lecturer Andrew Spira as a “utilitarian material with no airs and graces, evoking daily contentment.”

Originating in the Near East, pewter artefacts have been discovered in ancient Egypt and Rome, where it was valued as a cheaper alternative to silver but more refined than wood or pottery. One of the oldest alloys, it was made of tin, copper, bismuth, antimony, and – in earlier centuries – up to 85 per cent lead. When melted, it resembled mercury and was poured into intricately crafted moulds, which were prized for their ability to be reused many times.

By the 15th century, most British pewter came from Cornwall and was widely used for everyday objects such as plates, cups, spoons and, most famously, tankards. In the 17th century, pewterers developed lathe-turning techniques to refine the shapes and engraved etchings into their moulds to create raised decorative designs. Because pewter is soft, they soon began engraving directly onto the surface, creating intricate and sophisticated patterns that gave pewter a prestige almost equal to silver – even adopting hallmark-like stamps.

Despite this refinement, pewter remained associated with pubs and convivial gatherings. The Worshipful Company of Pewterers used its finest work for celebratory events and guild feasts.

By the 18th century, pewter’s popularity declined with the rise of porcelain, glass and mass-produced pottery, as well as health concerns over lead content. It enjoyed a revival during the Art Nouveau and Art Deco movements, with stylish decorative pieces such as Liberty’s Archibald Knox collection. Today, modern pewter is mostly tin, antimony and copper, valued as a craft material and for heritage reproductions.

The Arts Society Grayshott’s next lecture is on Wednesday, October 2 at 2pm, Grayshott Village Hall: Great and Small: Writers, their Pets and Other Animals by Annalie Talent. Visitors welcome (£7, refundable on joining).