Sheep – don’t you just love them?

Winand (Win) Hock

August 2022

In this ode to the humble herbivore, Win Hock reminds us of the sheep’s importance to the history of British economy and social structure.

Probably no other Staffordshire pottery figure was produced in more forms and sizes than the beloved sheep. If you go to Myrna Schkolne’s series of books titled Staffordshire Figures, 1780-1840, especially Volume 3, you will be astonished by the vast number of sheep figures, and almost certainly there are others out there that are not yet illustrated.

Large sheep (similar) – 9”h; 8.25”l. Ref. Staffordshire Figures 1780-1840, Volume 3, p.204, fig.131.73; Win Hook Collection

If you include Prattware figures, Victorian sheep figures, as well as those made in Wales and Scotland, the numbers of potted sheep figures escalate even further. Add in those figures which include sheep in their decor, such as many in the musicians grouping do, you then get a sense of how important and revered sheep were as part of the British economy and social structure. Sheep have been farmed in the UK since Roman times and have been a traditional and important part of the history of British society by providing meat, milk, and wool for the population.

Graves decorated with top shaped like a bale of wool are found only in the Cotswolds and marks the region’s past (fifteenth to eighteenth centuries) as a prosperous wool producing area.

Historically, wool was big business in medieval England. There was enormous demand for wool, mainly to produce cloth and everyone who had even a little land raised sheep. The English did make cloth for their own use, but very little of the cloth that was produced was sold abroad. It was the raw wool from English sheep that was required to feed foreign looms. At that time the best weavers were in Flanders and in the rich cloth-making towns of Bruges, Ghent and Ypres, and they were ready to pay top prices for English wool.

Pair of small sheep, Starred Anthemion Group, 4.2”h; 2.5”l. Ref. Staffordshire Figures 1780-1840, Volume 3, p.209, fig.131.103
Win Hook Collection

Wool became the backbone and driving force of the medieval English economy. As the wool trade increased, the great landowners began to count their wealth in terms of sheep. A tax was levied on every sack of wool that was exported which provided a regular revenue source for the monarch.

The wool success story continued right into the Victorian period when Leeds was at the forefront of a cloth-making industrial revolution. Leeds economy, it is said, was built on wool. All the sheep in England were not enough to meet the demand, so wool was shipped in from as far away as Australia and New Zealand for the mechanised Leeds mills, the largest in the world at that time.

It is no surprise then that the Staffordshire potters included sheep in many of their figures – they were everywhere. And the potters were not alone. There is a history of sheep as subject, background or metaphorical symbol in many English artworks, from Thomas Gainsborough to John Constable to the pre-Raphaelites to Henry Moore (who made 234 drawings, lithographs, etchings and sculptures of sheep). Moore just liked sheep.

At first I saw them as rather shapeless balls of wool, with a head and four legs. Then I began to realise that underneath all that wool was a body, which moved in its own way, and that each sheep had its individual character.

Mrs Mary Cobbold and Miss Cobbold, with a Lamb and a Ewe (c1752), oil on canvas, Thomas Gainsborough
The Cornfield (1826), oil on canvas, John Constable
Prize Sheep (1838), oil on canvas, William Henry Davis
The Hireling Shepherd (1851), oil on canvas, William Holman Hunt
Head (1974), etching and drypoint, Henry Moore
Sheep Piece (1971/2), bronze, Henry Moore

Even today sheep still have a significant economic impact in much of the British Isles. There are still about 35 million sheep being grazed in the UK. The domestic sheep is a multi-purpose animal with more than 200 commercially important breeds now in existence worldwide.  According to the National Sheep Association, there are about 90 different breeds being grazed in the UK, but only about 15 are of major economic significance. The value of production was around £1.3 billion in 2020. With around 150,000 jobs across sheep farms and associated industries, employment in the sheep industry is worth approximately £290 million to the economy. For comparison, the United States has but 5.25 million sheep, mostly concentrated in Texas and California.

You might ask, of these many domestic breeds of sheep, which is the most popular and economically important breed worldwide? The Merino seems to be the winner. The Merino sheep is a medium-sized sheep breed and a very significant one in the sheep industry. Having been around and prized for its extremely fine wool for centuries, the Merino sheep is a founding breed for many of the modern breeds around the world today. It is highly adaptable making it easy to breed in most any climate and environment.

The Merino sheep

Sheep may not be the brightest animal according to some experts, but what they lack in sheer intelligence they make up in their sweet nature. Just looking at them gives you a big smile and the urge to give them a big hug. They are a nostalgic reminder of another time when life was simpler and a flock of sheep was the pride of the family or estate. We too enjoy our prized flock of Staffordshire sheep.

An earlier version of this article appeared in the Spring 2022 Staffordshire Figure Association newsletter. Additional research on the history of sheep in British art by Sarah Gillett.

Win Hock collects mostly early figures, pre-1835. His wife Pat has a small collection of Staffordshire dogs and a few pastille cottages. They live in Boalsburg, Pennsylvania, US and can be contacted by email.

More Features

Who is Pugh?

Alan Jamieson

Gordon Pugh is the man who everyone turns to first when investigating the provenance of a Staffordshire portrait figure. “Is it in Pugh?” tends to be the first question. If the answer is ‘Yes, Pugh has it’ the inquisitor breathes a sigh of relief. ‘No’ means there’s doubt and disappointment.

So who is this Pugh person who dominates collectors’ lives? Alan Jamieson bravely steps into the role of investigator to find out.

Christ Crucified!

Stephen Duckworth

At Easter, Stephen Duckworth reveals some early pieces of Staffordshire from his collection, depicting the crucifixion of Jesus and celebrating his supernatural resurrection from the dead.

Dandies and dandizettes: dressed to impress

Win and Pat Hock

In 1836, Scottish philosopher and writer Thomas Carlyle wrote: “A dandy is a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse, and person is heroically consecrated to this one object, the wearing of Clothes wisely and well: so that the others dress to live, he lives to dress.” Win and Pat Hock celebrate these most stylish of Staffordshire figures.

Ralph Wedgwood, figure maker 1788-98

Pat Halfpenny

On 6 February 1837, the scientist-potter-entrepreneur-designer-inventor Ralph Wedgwood died in London. Pat Halfpenny introduces the man and the significant contribution he made to Burslem’s figure production during a very busy ten years.

The Birth of Jesus Christ

Stephen Duckworth

Despite being a popular subject in Western art, the Staffordshire potters did not produce a nativity scene. Stephen Duckworth offers some alternative Victorian figures for a festive mantelpiece.

Saving for a Rainy Day

John Howard

John Howard celebrates the enduring financial advice of the Reverend John Wesley, born 28 June 1703, a man who travelled 4000 miles a year on horseback, gave over 40,000 sermons and by the end of his life in 1791, was “the best-loved man in England”.


We warmly welcome new members.

Wherever you are in the world, whether you are an experienced collector, a researcher interested in the folk art of England, or just someone who is intrigued by Staffordshire figures, please join us for £45 / $50 per year per household.