Moving fillister by William Tracey of Winchester.
Tracey was apprentice to William Madox in 1759, and was working independently by at least 1779
This is an interesting moving fillister by Richard Small of London.
Note the intermitent Lignum boxing to the stock of the plane. This is usually associated with Birmingham makers. I don't recall seeing a London made plane with this feature before.
Sash fillister by John Green of York.
An early example by this maker. Note the unusual wooden depth stop, and the lack of any form of boxing to the stock.
Early moving fillister.
I love this plane; it has such an early feel to it. The wedge, depth stop, chamfers, and shoulder detail are all heavy, bold, and overstated. The boxing is large, but with a tiny tongue to key it to the stock.
This is the first moving fillister that I have seen that is shouldered on one side only. It was found in the same wheelwrights shop that the John Davenport moulder came from. Unfortunately it is unnamed
Moving fillister by Robert Fitkin of London.
This fillister is quite basic, with just a simple wooden depth stop.
Fitkin was apprenticed to Ann Wooding in 1736, but after three years he was turned over to John Jennion
This is an early sash fillister by William Wheeler of Thatcham.
I am trying to find out when the first sash fillisters were made. This is the earliest example in my collection.
A sash fillister by George Stothert of Bath. Stothert was working between 1784 to 1818. The plane has a boxwood slip, and brass adjuster for the depth stop. Note the cupids bow mouth escapement.
I love tools that have a bit of mystery to them.
This is a 18th century moving fillister by an unknown maker, W Tokelove.
This seemed a bit of an unusual name, so I did a bit of research, and found out that the name Tokelove only seems to crop up in a small area of Norfolk. There are quite a few Tokeloves that worked as carpenters, or wheelwrights in the 18th and 19th century.
The plane itself has some interesting details. There is intermittent wear strips, which are usually lignum vita, and associated with the Birmingham school. Im not 100% sure, but i think these maybe a combination of ebony, and boxwood.
The wooden depth stop is massive, and such a great shape.