In Febuary 2010 I wrote a three-part blog entry showing that the earliest illustrations and texts about the planes we call "mitre planes" were in the marquetry sections of various books. My theory was that these planes were most likely used for leveling and planing the surfaces of marquetry panels and materials. The exotic woods used in marquetry are sometimes very hard and can easily tear up the soles of any wooden plane. You can read my blog here, here, and here.
David Lundqvist, a woodworker who lives in Sweden, just sent me a "missing link" in support of my thinking. The painting above, called "Die Ebenisten" [The Marqueters], was painted by Elias Martin in England between 1768-80. The painting shows two marquetry journeymen, George Haupt and Christopher Fürloh (anglicised as Furlong), working for John Linell in London. I'll talk in a moment about why two Swedish journeyman were in London, but first focus your eyes on the metal plane located pretty much in the middle of the painting.
I think this is the earliest contemporary image of what we now call a mitre plane in England, and it comes just before the period when plane makers such as Gabriel and Moon were entering the metal plane market. The plane itself doesn't look dovetailed and seems to follow the European technique of brazing the body to the sole; admittedly the scan I have isn't perfectly clear, so I am not positive about this. David's research on Swedish cabinet makers led him to this painting. David also found two contemporary citations of the phrase "Rabot du Ebêniste," or "Marqueter's plane" -- not "plane of iron," the term that the few earlier references in marquetry tool pages use for these planes, nor "mitre plane," a later term that shows up around 1820. We finally have both visual proof and documentation that the plane was recognized as a marquetry plane, not a mitre plane. Well done, David!!!
Another interesting question is why two Swedish marquetry journeyman were in England in the first place. My assumption was that England at the time was starting its rapid economic expansion with the advent of the Empire and the Industrial Revolution. The country was growing in wealth and an attendant demand for European-trained craftsman to create fancy furniture for the country's nouveau riche. David took a different approach in answering this question. David observed that by the middle of the eighteenth century the closed guild system of crafts, which was still thriving in Continental Europe, was starting to vanish in England. The craft guilds - groups of master craftsman in England - still certified new masters and still gave a seal of approval, but no longer had the power, legal or otherwise, to restrict trade. They were mostly social societies for the richer craft classes. Anyone could be a cabinetmaker, and a cabinetmaker could set up shop and hire apprentices. The loosening of the guild restrictions allowed new ideas to mature, which attracted talented immigrants. New blood and ideas became established in England, along with employment and training for immigrants. Trained Swedish craftsman could find good work and advancement in England, and not have to fight to get guild permission back home.
The painting currently hangs in the National Museum in Stockholm.