Select Page

Seven more grants to help save endangered crafts

A coppersmith, a Highland thatcher and a trainee sailmaker are among the recipients of a new round of grants to help safeguard some of UK’s most endangered craft skills.

Scot AnSgeulaiche, Samantha Dennis and Nicholas Konradsen Heritage Crafts has awarded the grants through its Endangered Crafts Fund, which was launched in 2019 to increase the likelihood of at-risk craft skills surviving into the next generation. Five of this round’s grants are funded by The Radcliffe Trust and were selected with special consideration of the impact of the energy crisis on our most vulnerable crafts.

In 2021 Heritage Crafts published the third edition of its groundbreaking Red List of Endangered Crafts, the first research of its kind to rank the UK’s traditional crafts by the likelihood that they will survive into the next generation. The report assessed 244 crafts to ascertain those which are at greatest risk of disappearing, of which four were classified as extinct, 74 as ‘endangered’ and a further 56 as ‘critically endangered’. A new edition will be published on 11 May 2023.

The seven successful recipients are:

  • Scot AnSgeulaiche from Perthshire, to train an apprentice in the craft of Highlands and Islands thatching and encourage the use of locally-grown thatching materials.
  • Birgit Frietman and Robyn Smith from London, to set up a hub for horn working in London and reduce their carbon footprint by completing more processes in-house.
  • James Slaven from Glasgow, to train in sailmaking with Mark Shiner and set up a workshop at the GalGael Trust making and repairing sails and repurposing old sailcloth.
  • Steve Hogarth from Derbyshire, to add the skills of leadworking and flint masonry to his steeplejack business, maintaining the usefulness of traditional buildings without the impact of scaffolding.
  • Samantha Dennis from Shetland, to catalogue and replicate historical coiled baskets of Shetland and create a market for small crofters to sell locally-grown oat straw.
  • John Wills from Northamptonshire, to set up a tinsmithing and coppersmithing workshop that will also provide teaching, using renewable charcoal to heat the traditional soldering coppers.
  • Nicholas Konradsen from Lincolnshire, to research and make Lincolnshire bagpipes in a new workshop with more energy-efficient equipment.

These seven projects follow 50 others awarded in previous rounds, covering endangered crafts such as clockmaking, tinsmithing, kiltmaking and many more. Along with The Radcliffe Trust, which has been the major funder in this round, other funders have included The Sussex Heritage Trust, The Pilgrim Trust, The Dulverton Trust, The Swire Charitable Trust and others, as well as individuals who have donated sums from £5 right up to several thousands of pounds.

As usual the fund was oversubscribed, and Heritage Crafts hopes to work with many of the unsuccessful candidates to identify other funding and support opportunities.

Mary Lewis, Heritage Crafts Endangered Crafts Manager, said:

“The current energy crisis means that our craft skills are at more risk than ever before. We are delighted to be working in partnership with the Radcliffe Trust and other funders to address the specific challenges being faced by endangered crafts practitioners at this time.”

View the full list of the 57 grants awarded to date 

Horn, antler and bone working

The Radcliffe Red List of Endangered Crafts


Horn, antler and bone working


The working of animal horn, antler and bone to make vessels, spoons, combs, pipes and decorative items.

This craft uses products derived from animals – please read our ethical sourcing statement.


Status Endangered
Historic area of significance
Area currently practised Holme, Kingussie, Pitlochry, Northumberland
Origin in the UK Paleolithic
Current no. of professionals (main income) Hornworkers: 11-20 (estimate)

Horn working would have been practised widely in the British Romani and Scottish Traveller communities. It is unknown how many practitioners remain within this community.

Bone and antler: There will be quite a significant number of makers using antler and bone as a part of their craft e.g. for knife handles and walking stick handles.

Current no. of professionals (sideline to main income)
Current no. of trainees
Current total no. serious amateur makers
Current total no. of leisure makers



Artefacts dating back to the fifth century BC have been found depicting the use of horns in everyday life, however due to its biodegradable nature few actual horn artefacts remain. Horn artefacts dating back to the sixth and seventh centuries have been found at both Sutton Hoo, Suffolk, and the Coppergate Dig in York.

In the Middle Ages small horn workshops would have sprung up around all the major cattle markets throughout the UK. As an inexpensive and plentiful material these workshops would have produced everyday household articles for the poorest people such as spoons and beakers.

From the mid-sixteenth century to the late nineteenth century ‘horn books’ were manufactured as a teaching aid for children. These consisted of a sheet containing the letters of the alphabet and often the Lord’s Prayer, mounted on wood and protected by a thin sheet of transparent horn. The wooden frame often had a handle, and was usually hung at the child’s girdle.

The word ‘lanthorn’ can be traced back to first use in 1587 although it has experienced great semantic change through centuries, to become the modern word ‘lantern’. Originally consisting of ‘lant’ and ‘horn’, the name refers to the thin translucent sheets of horn used as screens for candles.

Later in history lanthorn ‘leaf’ was used to refer to ‘panes’ for lanterns and occasionally, only for the very wealthy, as window glass. The medieval town house of Barley Hall in the city of York displays a fully restored window of lanthorn leaf panes. Whilst the town house was originally built in 1360 by the monks from Nostell Priory, it is unknown at what date the original horn window would have been added.

Dating back to at least the seventeenth century, powder horns would have been produced as containers for gunpowder. Typically a powder horn had a stopper at each end, with the wide mouth of the horn being used for refilling the vessel with powder and the narrow end used for dispensing the powder. These would have been carried by a long strap slung over the shoulder. Ornate examples still exist from this era, often lovingly covered in scrimshaw work, possibly done by their owners.

Combs, for grooming hair, have been found in Cumbrian archaeological sites going back to Roman times. Later, combs were made in South Westmorland from the horns from the district’s long horn cattle. In 1673 Sarah Fell from Swarthmore paid sixpence for ‘a little dandrifa combe’ possibly from a horn comb maker who was recorded as working on Fellside, Kendal. Industrial production was introduced in the 1870s when John Dobson moved his Bradford firm, which had been founded in the eighteenth century, firstly to Ann Street in Kendal and then in 1886 to Bela Mills at Milnthorpe.

Dating back to the Crimean War in 1853 soldiers mugs were styled with both the tankard and the handle made from one piece of horn – it is reported that even Florence Nightingale had one!

In the twentieth century as the horn industry declined dramatically, due to trade disputes and the availability of cheaper materials, enterprising clerks of the Horner’s Guild had the foresight to adopt its modern day equivalent – the plastic industry. Today, with the raw material being neither inexpensive nor plentiful, the products have come full circle to become more of a luxury item.



Horn working is the craft of manipulating cow horn by means of heat and pressure. By cutting, sanding and polishing the material can be used to create a wide range of articles.

After selecting the piece of horn to be used, the horn is shaped in a variety of ways. It may be shaped by applying heat (a soft gas flame or by dipping in hot oil) or pressure (using a press). Shapes are cut using metal cutters or by hand with a band saw, and further shaping and thinning can be achieved by grinding with abrasive discs. The horn is sanded several times with different levels of emery cloth or abrasive discs, and then polished to bring out the natural beauty and colour of the horn.


Local forms




Issues affecting the viability of the craft

  • Shortages of raw material (horn): Due to modern farming techniques cattle are de-budded in the UK which means that horn workers have to import this raw material. Political unrest and legislative changes on imports has the potential to severely disrupt supply.
  • Shortages of raw material (ram’s horn): Recent selective breeding techniques are beginning to threaten the source of UK ram’s horn. The availability of suitable breeds of sheep from outside the UK is dubious which would rule out importing this material.
  • Recruitment issues/skills: Horn workers do not come off the shelf and there are very few transferable skills that can be utilised from other industries. As a result staff have to be trained on the job which can take many years.


Support organisations


Craftspeople currently known

Individual makers:

Bill Steele  of Kingussie passed away in 2019.

Businesses employing two or more makers:


Other information

The Worshipful Company of Horners have begun a scheme to a jewellery and decorative items award for students working with horn.



  • Carlson, Marc, (2001) Using and Working With Horn
  • Schaverien, Adele, Horn: Its history and its uses, ISBN 0646464302
  • Hardwick, Paula, Discovering horn, ISBN 0718825209
  • Ritchie, Carson I A, Bone and horn carving, ISBN 0498014045
  • Horn working and the Scottish Traveller Community
  • Dawson, Robert, The Traditional crafts hawked by Romanies and other Traditional Travellers, Blackwell 2022