Figurehead carving in the UK has a rich history, evolving from ancient traditions into an elaborate art form that adorned ships through the 18th and 19th centuries. Originating in medieval Europe as a way to bring good luck or ward off evil spirits, figureheads became increasingly detailed as craftsmanship improved. By the height of the British Empire, ships were decorated with intricate figureheads and other intricate carvings which would be painted and gilded.
For merchant ships, figureheads often depicted mythical figures, animals, or classical symbols meant to convey strength, resilience, and trustworthiness to all who encountered them. Each figurehead became an emblem of the ship itself, marking its unique identity and as a display of wealth and power.
Naval ships, by contrast, were often adorned with figureheads depicting royals, military heroes, or national emblems such as lions, embodying the power and prestige of the British Crown. These carvings served as both an inspirational symbol to the crew and a statement of dominance on the seas.
Andrew Peters, one of the last master carvers in the UK, played a crucial role in reviving this nearly forgotten tradition. His work reflects historical accuracy and the artistic finesse that made figurehead carving so admired. Peters not only restores old figureheads but also carves new ones, keeping the heritage alive. His dedication has contributed significantly to preserving this maritime tradition in Britain, making him an influential figure in the history of British ship carving.
Wood carving – most figure heads are constructed from sections of laminated timber that are then carved as a block. This will give it strength, stability and greater durability for a life at sea. Smaller figures and other carved elements could be carved from a solid block of seasoned wood.
The carver will make sketches and maquettes before starting the main carving, which will enable measurements to be taken.
Knowledge of ships and sailing – a ship’s carver would be expected to have a good working knowledge of ships in order to design and carve decoration that is both beautiful and does not interfere with the performance of the vessel. All carving would have to be durable enough to withstand long journeys and designed to avoid any potential damage that could occur when carrying out manoeuvres.
Conservation and restoration – much work today involves the conservation and/or restoration of historic ships. This requires specialist knowledge and a good understanding of historic construction methods, as well as the hand skills to carry out conservation or repair work.
Training and recruitment issues – There are currently no trainees in figurehead carving although there are some in general wood carving who will have transferrable skills. It is difficult to train someone within a business where the work is itinerant and working patterns are unpredictable. A ships carver will often have to go to where the ship is to do the work.
Market issues – There is a market issue that won’t be addressed unless we can increase the use and interest in sailing ships. Allied trades like ship carving can only be viable if there are enough working boats on the water.
Supply of raw materials, allied materials and tools – The materials are not difficult to source but they have reduced in quality and are increasingly expensive. It is getting more and more difficult to source new tools that are of a good enough quality.
Ageing workforce – Awareness of the craft, and of boatbuilding in general, is quite low and so there are problems with appealing to young people and raising awareness of the opportunities that might be available.
Conservation and restoration issues – There has been a significant rise in the number of conservation companies who are just interested in conserving, rather than restoring, and don’t necessarily have the hand skills to make new carving or replace damaged carving.
There are no formal training opportunities available in figurehead carving.
The City & Guilds of London Art School do offer BA and MA courses in woodcarving and gilding that aim to prepare students for a career in creating new work in historic contexts and/or restoration.
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