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Mike Haskew

What To Ask A Knifemaker

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From Forging And Picking The Right Materials To Putting Together The Fairest Return Policy And How To Run Your Business, There Are Many Questions Fledgling Knifemakers Should Ask Veterans.

This is the first of a multi-part series about knifemaking

When you consider buying a custom knife, certain questions come to mind. Some are easier asked and certainly more easily answered than others. However, anytime money is forked over in exchange for a handmade, well-built knife, an exchange of information takes place. Still, there may be a fine line between the ordinary, the somewhat sensitive and the downright invasive.

BLADE® asked some well-established custom knifemakers and purveyors what they thought about playing 20 questions with a prospective buyer. In this round of discussion, we’ll tackle those questions that should be asked and answered.

Testing And Heat Treating

I like the questions about testing and heat treating,” commented American Bladesmith Society (ABS) master smith Mike Quesenberry. “As for heat treating, it’s good to know what the maker does. Do they do the work themselves, and what type of heat treating do they do? Is it in a forge, heat-treating oven, do they use a salt pot? Then, on the performance aspect of the knife, is the maker doing any testing, taking it out and beating it or something else depending on the intended use of the knife?”

Veteran ABS master smith and mosaic damascus pioneer Steve Schwarzer agrees. The heat-treating query is near the top of his list. If the makers did the heat treating, did they do it themselves? 

“If so, have each maker explain the method. It is perfectly acceptable to ask this question because it is the heart of the blade,” Steve reasoned. “If the maker did not heat treat the blade, ask who did and check the reliability of the heat treater.”

 When buying a hunting knife, it’s fair to ask if the makers are hunters themselves or use their own knives in the field. J.C. Provost’s hunter features a 4-inch blade of CPM 154 stainless and scrim by Joanna Provost. (SharpByCoop image)

Authorship

The origin of the steel itself, the aspect of sole authorship, and even asking a bit about the maker’s background is perfectly reasonable, according to longtime purveyor Les Robertson.

“Did the maker do all of the work on the knife? If not, which part of the process is outsourced and why?” Les offered. “If certain aspects of the maker’s knife are being outsourced, this may not be a true custom knife. There can be a fine line between a custom knife and a mid-tech knife. Often, makers grind knives in batches. Consequently, it is more efficient time-wise and more economical to send the blades to a reputable heat treater.

“If the knife features a forged type of blade, especially when it comes to damascus, ask the maker if he forged the steel,” Robertson added. “This question is more germane to those makers not in the American Bladesmith Society. Several people specialize in making damascus for makers to use in their work. Most do an excellent job and offer patterns that will give your knife a unique look. Asking the makers if they belong to a particular knifemakers’ organization is a fair question. But you, as the buyer, should understand what requirements have to be met to belong to the organization and attain certain ratings in each.”

How They Do It

Methods, maker preferences, and perspectives are good areas to probe when discussing the makers’ work. How do they do their thing day in and day out?  

“I think buyers should ask whether a knifemaker is a stock removal maker or forger,” said award-winning maker David Broadwell. “That will start to determine what kind of knives people will want. But then, it may not make any difference as long as they like the knife and the maker. Then, the knifemaker should be asked if he or she does all their own work, and if not, what is done outside their shop. This is to determine honesty on the knifemaker’s part. There are other things to ask as well to get to know the knifemaker—full or part-time, family. I like people to know who I am.”

Knifemaker Guarantees

Purchases are often made with the understanding of a guarantee, a buy-back to ensure customer satisfaction. 

“You can ask, but I don’t fault anyone if they don’t offer a [buy-back] guarantee,” Broadwell noted. “You can’t buy most any product, say a Harley-Davidson motorcycle, and decide you don’t like cruiser bikes and expect your money back! A deal is a deal, as they say. Now, some makers specialize in multiples of given models, and they may be happy to take a return if they believe they’ll sell it right away.”

The components that make the knife sometimes have a bearing as well. After stressing the sole-authorship point, BLADE Magazine Cutlery Hall-Of-Fame® member Dan Delavan of plazacutlery.com finds a warranty to be reasonable in some circumstances, and then adds a question on components as important to the sales equation.

“Warranty? Just workmanship,” Delavan offered. “The maker cannot guarantee materials as they shrink and expand. The maker should be willing to repair for a charge. Then, does he or she do all the work, and if not, what is done by others? Does the maker bring in outside parts that he or she does not make on her own, examples being such as parts that are made in China or elsewhere, even in the USA? Is the maker able to make modifications?”

For Robertson, the concept of a guarantee is implicit in the trust that develops between maker and buyer. An understanding of care and use is necessary when the question of the guarantee is posed.

“A lifetime guarantee comes with certain responsibilities for both the maker and the buyer,” Les related. “The makers should guarantee the work with regards to their craftsmanship and materials used. Your responsibility as the buyer is to use the knife as it was intended to be used. During normal use, if the blade breaks, yes, the maker should build you a new knife. Now, if you are using a folder as a pry bar and the blade breaks, you are not using the knife for its intended purpose. Subsequently, that is your fault and the maker does not owe you a new knife.”

Genre Specific

Vince Evans

Some makers specialize in historical pieces, reproductions of knives and swords that reflect the times in which the originals were active. Such situations might influence the dialogue between maker and buyer, according to maker Vince Evans.

“My little corner of the field is very different from most other makers,” he explained. “My work is mostly ‘historical’ in nature, so questions to ask could be, ‘Can you tell me more about this piece?’ or ‘What culture is this piece based on?’ or ‘Is this sword based on a specific find?’ When I first met [Cutlery Hall-Of-Fame writer] Ken Warner years ago at the BLADE Show, he walked up and asked, ‘Am I looking at antiques or did you make these?’

“When it comes to period pieces, a telltale sign that a maker hasn’t seen or handled an antique knife or sword is that his rendition is oversized or overweight. Most antique swords, daggers and knives were much more petite and delicate than you would imagine. I encourage makers to study original pieces firsthand, even if it is through a glass case in a museum, before making a period piece. Photos in books and online do not give you a true feel for the original, although many resources do give you measurements and weight. There is no substitute to studying originals firsthand.”

The genre or style that a maker pursues is often the first indicator that a discussion is at hand. Catching the customer’s eye naturally leads to inquiries. When conversation surrounds a custom order, there must be clear understanding related to the finished knife.

“There has to be an exchange between the maker and the customer,” Quesenberry noted, “and that relates directly to how the knife will be used. If it’s a hunting knife, will the customer be skinning only, or will they be breaking bone with it? The customer has to ask what the maker’s knife is intended to do, or if the maker can produce the using knife the customer wants.”

Communication is the key for both parties to be satisfied with the outcome of the buy-sell arrangement. For example, when purchasing a hunting knife, it’s fair to ask if the makers are hunters themselves or use their own knives in the field. 

“Sure,” Delavan smiled, “but in some cases the knives can be too expensive for the maker to use. Most knifemakers are not rich!”

Knifemaking Mentors

One of the most important questions to ask makers relates to their background, where they learned their craft—particularly who their mentor, or mentors, in the industry might be. Identification of those who introduced makers to their life’s work or helped bring their skill set along will provide an insight into philosophy, work ethic and mindset, and, ultimately, quality.

“Ask who their mentors are,” Schwarzer advocated. “This is especially important if the maker is forging blades.” 

 Several people specialize in making damascus for makers to use in their work. Most do an excellent job and offer patterns that will give your knife a unique look. Del Ealy forged the ladder-pattern damascus for the Angel’s Wing art dagger by Steve Vanderkolff. (Caleb Royer image)

Added Quesenberry, “It’s always good to know a guy’s background and the schools they went to and whether the makers continue to educate themselves on newer methods or techniques, or are they becoming stagnant? Do they want to up their game and experiment with different things?” 

Chipped in Broadwell, “Of course, I’m proud of the men who shared information and helped me in my earlier years, and if I learn something new I’m happy to share that person’s help as well.”

Open Dialogue

The best approach to discussing the buying or selling of a knife is for both maker and potential purchaser to have mutual respect for one another. In the end, talk may be cheap. However, real, honest and open dialogue develops trust and assurance that the process is working for each party.

Ask questions. Consider responses. Come to informed conclusions, and remember that the entire experience revolves around the knife itself, its quality, materials, looks, and price tag. Most makers welcome questions and are willing to provide candid answers. In that alone, the level of assurance is elevated.

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Hallmark Of The Hamon

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For Ages, The Hamon Has Fascinated Makers And Knife Users Alike. Finicky, Beautiful, And Historic, The Hamon Continues To Wow.

It stretches much if not most of the blade’s length, and when it appears it’s accompanied by an air of mystery, of the exotic. Its contours are created by the knifemaker, and it has always served as a focal point for function and aesthetics. But exactly what is it?

For ages, the hamon has fascinated craftsmen and cutlery users alike.

“Technically, the hamon is the differentiation line between the hardened martensitic edge and the ‘not hardened’ body of the blade,” explained ABS master smith Brion Tomberlin. “The term temper line has been around for years, and, in my opinion, is not correct. Temper refers to drawing back the hardness of the hard martensite after quenching to reduce brittleness and impart toughness. So, a hamon is not a line where temper starts and stops.”

Elaborated knifemaker Joel Mercier, “Tempering refers to the action of heating a quenched steel to a given temperature to remove the brittleness induced by the newly formed martensite, the hard steel molecules created when a steel is quenched. Untempered martensite is very hard but also brittle as glass. It is possible to temper various zones of a blade at different temperatures.”

The hamon is an indicator of the hardening difference between the edge and the softer areas of a blade. These areas are not developed during the making of the steel itself, and a hamon may be formed with stock removal or forged steel.

The hamon comes to life in the quenching process. By achieving different cooling rates, makers form various quantities of martensite, hence a varied hardening of the steel. The faster the steel cools, the higher the percentage of martensite.

The appearance of the hamon denotes a harder edge and a tougher spine in the blade, allowing for flexibility while preserving sharpness and cutting ability. “The hamon,” related knifemaker Johnny Raymer, “is the visual representation of the transition zone between the hardness levels in a differentially heat treated blade. A temper line is often visible within a hamon and is the boundary in which the most drastic change in hardness occurs.”

Along with the functional aspect of the hamon, there is an artful attractiveness. Raymer explains that the hamon extends beyond the temper line itself to the further reaches of the blade during the blending of hardness levels. Most often this is seen toward the edge, yielding a smoky appearance and becoming the hamon’s most artistic component.

How Do You Make A Hamon

Developing a hamon depends on controlling the cooling of the steel as necessary. The rate of cooling is typically determined with the use of clay or another suitable material.

“First, you need to consider your steel selection,” Tomberlin advised. “You need a steel that is low alloy and has a low manganese content. Manganese promotes deep hardening, and the more manganese you have in the steel, the less hamon formation will occur. The most common modern steels that fill the bill are 1095, W1, W2, and 1075, and before the steel is quenched a coating of clay of some sort is applied to the surface that you intend to be less hard. The clay slows down the cooling process in that area.”

Order: 210218_Joel_Mercier_001 Maker: Joel Mercier Email: joelmercier83@gmail.com Phone: +1 08196905635 Knife Info: Maple sap sprout themed fighter W2 steel blade, wrought guard and buttcap, copper fittings and curly maple.

Once a blade has been forged or stock removed, Tomberlin takes it to a 120-grit finish that will allow the clay to stick. He thoroughly cleans the blade to remove any oils and then applies the clay. He prefers satanite refractory mortar and learned to use it from now-retired ABS master smith Don Fogg years ago. However, fireplace mortar or certain types of cement, Rutland for example, will also work.

When a light coating of clay is applied, the maker can manipulate the pattern of the hamon. For quenching, Tomberlin uses Park’s 50 oil. Water is an alternative but it takes practice and may produce cracks. “It isn’t for the faint of heart,” he commented.

After quenching, a quick grind at 120 grit will reveal the hamon. Telltale signs that the process has gone awry include the absence of activity—a consequence of the blade being too hot at the moment of quenching. If the hamon runs off the edge of the blade or falls below the pattern of the clay, it indicates that the clay coating was too thick or the blade was not hot enough to perfect the process.

A fine example of a Tomberlin hamon is seen in his chef’s knife with a seven-inch W-2 blade, exhibition thuya wood burl handle, G-10 spacers, and silicon bronze accent. The hamon is subtle yet striking and reaches toward the blade edge in a stunning display.

Raymer adds that the temper line is the boundary of differential hardening, but also notes that it may be more visible in some cases than others. 

“It is almost always unbroken, but as far as being clear and well defined, that is not always the case,” he observed. “Depending on the etching or polishing process you can get multiple results for the visual aspect of the hamon, as well as multiple temper lines depending on the hardened areas.

“Etching for a stark contrast with dark smoked or bled-out areas in the ashi* region of the hamon is very popular. But the hamon can also be given a frosted appearance with etching or simply polishing to give it a subtle ebb and flow that is only seen as the hamon catches light.

“As far as a well-shaped pattern, the hamon is very controllable by the artist crafting the blade,” Johnny maintained. “It could be as systematic or symmetrical or as organic and free as the craftsman desires. The most important objective, as with many aspects of knifemaking, is symmetry from one side of the blade to the next.”

Raymer reveals his skills with the creative hamon achieved on a 5.25-inch blade fashioned from 1095 steel accompanied by a magnificent 11-layer handle consisting of brass, G-10 spacers, Tasmanian blackwood and black ash burl. The overall length is 10 inches, and the knife is accompanied by a sheath in seven or eight-ounce leather with a multi-directional belt attachment.

Those who work in stock removal and wishing to try the hamon technique can take heart. “Forged blades and stock removal knives have the same potential for hamon activity in my opinion,” Johnny stated. “All knives become stock removal at some point. The heat treatment is the same for me in a stock removal knife as well as a forged knife.”

Mercier calls the maker’s manipulation of the hamon the most interesting part of the process. “I have yet to ‘crack the hamon code,’” he advised. “There are many variables at play here, all of which will dictate where and how the hamon will show. The geometry of the blade, the steel used, the type and thickness of the clay, the temperature of the steel, the type and temperature of the quenchant, a vertical or horizontal quench, and more.

“I don’t believe there are better shapes for a hamon. As for the location, I would say it depends on the type of blade and how crucial the hamon is. For example, a hamon is more of a question of aesthetics on a kitchen knife than it is on a weapon. A hamon done properly will show three zones very clearly—high, medium and low martensite areas—and it won’t get too close to the edge of the blade.”

Mercier showcases his hamon technique with a fighter sporting a W2 steel blade, wrought iron guard and buttcap, copper fittings, and curly maple handle. The hamon is well defined and distinctive, clearly marking the effects of the differential quenching process.

“A hamon has nothing to do with forging steel,” Joel agreed. “It all happens during quenching, no matter whether the blade is forged or done by stock removal. If the wavy line of the hamon drops down below or into the blade edge, it means that area will be softer and will compromise the edge performance. Many things can be responsible for this, such as a quenching temperature that is too low, clay that is too thick or too low on the blade, or a quenchant that is too slow. I believe the most common mistake new makers do is using too much clay.”

 The Visual Beauty Of The Hamon

In the end, the development of the hamon primarily adds another dimension to the visual presentation of the knife. It certainly denotes a maker’s skill and attention to the need for a tough spine and an edge that maintains its sharpness without being too brittle.

The 1084 carbon steel blade of Adam Mille’s fighter comes complete with hamon. The handle is quilted big leaf maple burl. Overall length: 11.5 inches. (SharpByCoop image)

“Hamons themselves are just an aspect of art,” Raymer reasoned. “The process of differential hardening is beneficial in creating a blade that can take more impact like those seen in fighting knives or choppers, but still performs cutting tasks proficiently. This hardening method allows the knife to spring and/or bend without shattering and without reducing edge performance.”

The hamon, therefore, is representative of the highest performance in blade steel, a visual cue to the user to have confidence in the knife’s ability to undertake the task at hand.

*Ashi refers to the area of a hamon’s lines or shapes that descend toward the edge, and are created by thin strips of clay applied during the coating process.

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Hunting Knife Sheaths: The Constant Companion

The Correct Sheath Is Pivotal To The Complete Hunting Knife Package. A Good Sheath Can Keep Your Knives Safe And Sharp For Decades.

The Correct Sheath Is Pivotal To The Complete Hunting Knife Package. A Good Sheath Can Keep Your Knives Safe And Sharp For Decades.

For the hunter in the field, a dependable and durable hunting knife is indispensable equipment, and it follows that the sheath that holds the knife must be equally up to the task.

Secure carry, protection for the blade and handle, easy access, and the ability to stand up to the elements and hard use are essential. While there is a variety of sheaths available and each one contributes something to the equation, the sheathmakers themselves have come to eye-opening conclusions as to the making and deployment of the correct sheath for the hunting knife. Personal preference is still a prime mover, but the basics make the difference between cooperation and catastrophe in the field.

“The best style for a hunting knife sheath is whatever the hunter wants,” explained veteran sheathmaker Paul Long. “Personal preference is very important. However, the knife that would best be described as a hunter would be best suited in a deep seat pouch with a loop that would carry relatively high on the belt. In most cases the deep pouch would preclude the need for a retention strap. For a double-guard hunter, a drop-loop belt sheath would probably be best with a snap strap for secure retention.”

Depending on the style of the knife, the guard often dictates the best pouch configuration. “I favor the pouch-type sheath, and the hunting knife generally has a single guard as opposed to a double guard,” related sheathmaker Paul Lebatard, who also has found success with his custom knives through the years. “I make a lot of doubles, too. You would have to make a snap-type sheath with a keeper strap, but on hunting knives with single guards the pouch type is always best.”

Three different styles of pouch sheaths by Kenny Rowe, from left: regular pouch, plain leather; strap pouch, floral hand carved; and full flap pouch, full coverage gator. (Kenny Rowe image)

A sheathmaker for over 50 years, Chris Kravitt zeroes in on the personal preference perspective. “First and foremost, it’s a matter of the configuration of the knife, and then if more than one style will work it becomes a matter of personal preference,” he observed. “My preference is to go with the pouch because it is easier to draw and resheathe the knife without worrying about straps.”

At the same time, Kravitt acknowledges varying hunting knife construction and its influence in sheath form and function. “If a knife has a double guard, it isn’t going to work on a pouch sheath, and if you have a knife with an integral handle, possibly,” he said. “Certain things don’t lend themselves to the traditional style, like when the blade is the widest part of the knife or there is no bolster or ricasso extending beyond the edge.”

Kenny Rowe, owner of Rowe’s Leather in Hope, Arkansas, adds another option on the hunting knife sheath. “Ninety percent of these sheaths would be the pouch type because they cover most of the knife, and with the guard you can make a welt where the knife has some resistance coming in and out,” he noted. “Some sheaths will have a lid that has a snap on it, and that is as secure as you can get with the flap snapping over the front of the sheath.”

The consensus with the pouch sheath makes sense for all the reasons that the hunter encounters in the field. For its toughness and the ability to shape and mold the sheath as desired during the construction process, cowhide reigns supreme among sheath materials. Most sheathmakers use 7-to-9-ounce* vegetable-tanned cowhide.

Style Of Sheaths

The use of exotics such as ostrich, stingray, alligator, crocodile or other hides is a continuing option, though for the most part they are used as accents, often in the form of inlays, rather than adding any performance-related component to the sheath.

“Exotics are very useful in sheathmaking but primarily for aesthetics,” Long explained. “Elephant and shark are two that are tough enough to withstand very hard use and are usually built as an overlay on a vegetable-tanned base sheath. I work with various snakes, lizards, ostrich and many others.”

Ultimately, Chris Kravitt—here working on a sheath in his shop—stands by the individual perspective. “First and foremost,” he begins, “it’s a matter of the configuration of the knife, and then if more than one style will work it becomes a matter of personal preference.” (Chris Kravitt image)

As Kravitt noted, “The basic sheath is going to be cowhide 99 percent of the time, but for overlays and inlays my favorite is stingray, which is near bulletproof but more expensive and harder to work with—but great stuff. Ostrich leg or shin is very nice, and Malaysian horned frog has a very nice texture to it. Snakeskin is not very durable, but it’s fine when the knife and sheath are for show since it won’t hold up with regular use.”

Tooling and carving also provide style points and may be pleasing to the eye. However, neither actually contributes to the performance of the sheath in field use. “I occasionally do some tooling with stamps, but carving is a talent I don’t have,” Lebatard remarked. “Still, on almost every sheath I’ll put something in keeping with the theme of the knife, like a small deer. Someone might place an order and specify that they just want a bare, plain sheath, or they may want just their initials on it. That’s a good thing about leather. When it is wet it can be molded and stamped, and when it dries it will hold that impression.”

Tanning And Steel

Vegetable tanning is essential when the blade meets the sheath leather for an extended period. In contrast to chrome-tanned leather, a vegetable-tanned leather is not known to corrode or stain a blade left in the sheath for any length of time. That old admonition to store the knife itself separately from the sheath will then get a longer look.

“A lot of people say not to store knives in the sheaths, but as long as the sheath is made of good vegetable-tanned leather, I’ve never had a problem,” Lebatard noted. “I made a knife for a friend a few years ago and he didn’t want a sheath. He was going to get someone else to make the sheath for him. Several years later, he brought the knife to me and he had had it in a chrome-tanned leather sheath. It was nearly rusted through. The chrome-tanned leather is very corrosive.”

Kravitt has had similar experiences. “I hear so many people say not to store knives in leather sheaths, but I have kept knives in sheaths for years and never had a problem,” he recalled. “My sheaths are all vegetable tanned as opposed to chrome tanned. Chrome-tanned leather may have salts and other things in it.”

Drainage And Inserts

Waterproofing is another essential element, and in the construction itself there are questions surrounding drainage holes and inserts as well.

Most sheathmakers shy away from inserts since contact with the blade may dull the edge. After all, the welt and/or strap should suffice for a snug fit. Inserts in and of themselves may be judged to provide some measure of redundancy, but contribute little to the overall stability of the lockup or in protecting the knife itself. Long says, “Even the best inserts, being rigid, will do more harm to a blade than top grain leather.”

The different decorations Kenny Rowe offers with his sheaths include, from left: smooth; border tooled; basket weave; acorn and oak leaf hand carving; exotic skin overlay (gator); exotic skin inlay (beaver tail); and exotic skin full coverage (ostrich leg). (Kenny Rowe image)

At first glance it might appear that a drainage hole is a good idea to help maintain cleanliness and prevent the buildup of moisture or debris within the sheath. Not so fast!

“I do not ordinarily put a drain hole in my sheaths,” Long asserted. “Nor do I do any waterproofing of the interior of the sheath. Rather, I depend on the normal intelligence of my client to not go swimming with their sheath, and to at least try to clean the blood and guts off the blade before reinsertion.” 

Rowe agrees. “I don’t see any sense in it,” he commented. “I can count on one hand the number of sheaths I’ve made with drain holes in them, and I’ve been making sheaths for 35 years at least. The only time I would expect someone to have their sheath in really wet conditions would be if they accidentally rolled into a deep river or their boat sank. I wouldn’t expect someone to haul off into neck deep water with their hunting gear on. For debris, it’s easy enough to take a wire with a little hook in the end and just rake the sheath out, or blow it out with air, or stand it upside down and shake it or tap it on a table.”

Kravitt, on the other hand, will utilize a drain hole and an insert from time to time. Often, the insert itself is fashioned from leather to avoid additional friction against the knife edge. The employment of the drain hole is in direct response to the future use of the gear in the field.

“If I know the sheath will be used in harsher conditions, I think it should have a drain hole,” he remarked, “not just for draining moisture, but also removing debris—especially when the user has spent a lot of time in the woods.”

Sheathmakers do tend to rely on the owner of the product and of the hunting knife to exercise responsibility in the field. “Explain to the client, if they are a novice, about the ‘care and feeding of a leather sheath,’” Long smiled.

How To Care For A Hunting Sheath

The well-crafted sheath is the constant companion of the hunting knife, either in the field or a collector’s cabinet, and the best measure of the sheath’s contribution is its role in that partnership. For the sheath to function properly, owners must remember the fundamentals of hunting knife care. Keep both the knife and sheath clean. Wipe away moisture and other fluids. Maintain the surfaces as needed. Don’t put the knife away wet and expect the sheath to do more than expected.

Adhering to best practices will ensure long life for both the hunting knife and its all-important sheath.

*According to the Montana Leather Co. website (montanaleather.com), leather thickness is typically measured in ounces. For instance, an ounce of leather is equal to 1/64 inch. As a result, 7-to-9 ounce leather will be in the 1/8 inch range, give or take a few millimeters.

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Heirlooms Of Time

Many Top Knifemakers Are Keeping Historic Styles And Methods Of Making Knives Alive Today.

Historical perspective is a relevant component in just about any undertaking. In the realm of cut, incorporating an appreciation of the past into the work of today brings another dimension to the custom knifemaker’s statement.

Interest in the knifemaking of a bygone era offers a window into the true artistry required to reproduce the knives of yesteryear, particularly with the absence of modern conveniences in the shop. Along with the interest in the historical knife, several custom makers bring famous designs, styles and patterns to life once again in tribute to those who have gone before.

The idea of the period piece blends old and new. “I’ve been making knives seriously since about 2002 when I took a class with the American Bladesmith Society in Washington, Arkansas,” related ABS master smith Lin Rhea. “Joe Keeslar and Greg Neely lit a fire under me and got me on my way. Since then the town of Washington has been like a second home, and I’ve even added to the personal connection between me and the area by interest in one of the town’s historical residents who was also a knifemaker. His name was James Black.”

A resident of Prattsville, Arkansas, Lin gained an appreciation for Black’s distinctive body of work*, using contrasting materials and techniques to create a bold, attractive look. “I’m grateful to get to know Mr. Black by studying his work,” Lin continued. “This intense study

Lin Rhea’s reproduction of the Carrigan Knife is based on a dress bowie James Black is thought to have made in the early 1830s in Washington, Arkansas. The original Carrigan includes a black walnut handle with coin silver pins and trim. The blade is about 6 inches long and the overall length is approximately 10.25 inches. (Whetstone Studio image)
Lin Rhea’s reproduction of the Carrigan Knife is based on a dress bowie James Black is thought to have made in the early 1830s in Washington, Arkansas. The original Carrigan includes a black walnut handle with coin silver pins and trim. The blade is about 6 inches long and the overall length is approximately 10.25 inches. (Whetstone Studio image)

led me to try to recreate one of his knives, the Carrigan Knife. The original knife, a guardless coffin-handled bowie, was made by Mr. Black in the early 1830s in Washington, Arkansas. I chose the Carrigan as my first attempt because of its less intimidating size; however, as is often the case I found it to be just as intimidating once I started into the project.”

The original Carrigan includes a black walnut handle providing a nice contrasting background to the coin silver pins and trim. The blade is about six inches long, and the overall length is approximately 10.25 inches. The full tang is virtually covered entirely by the walnut scales and the silver wrap.

When Rhea undertook his homage to Black and the Carrigan, he chose stabilized walnut, which he harvested himself several years ago, and trim in sterling silver. He forged the blade from 80CrV2 carbon steel and included at least 30 separate parts while attempting the same techniques used by Black nearly two centuries ago in fastening and assembling the finished knife.

“There is so much to be said about not only this knife but also Black’s work,” Lin concluded. “He was able to create a knife design utilizing only three materials yet impacting the knife world as few others could. His ability to arrange these materials into a functional, long-lasting, beautiful tool is only enhanced by the knowledge that he also built in other qualities like moisture resistance, logical assemblage and ergonomics. All of this was done in a historic setting without modern equipment and epoxies. In my opinion, his design is ingenious.”

Gold Rush Knives

Recently inducted into the BLADE Magazine Cutlery Hall of Fame® knifemaker Jim Sornberger has assimilated his gold and silversmith skill sets into custom knifemaking while helping introduce the modern world to the classic design, luster, and embellishment of the Gold Rush era and boomtown San Francisco of the mid-19th century.

 BLADE Magazine Cutlery Hall-Of-Fame® member Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. This one features a blade in Vegas Forge stainless barstock AEBL and 412 stainless steels and san-mai damascus with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s price for a similar knife: $3,500. (SharpByCoop image)
Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. Jim’s price for a similar knife: $3,500. (SharpByCoop image)

“I’ve been making knives since 1975 with the help of the late Les Berryman, an early Guild member, and with some guidance from Bob Loveless, Herman Schneider and Barry Wood,” Jim recalled. “The last three signed for me to join The Knifemakers’ Guild.”

For Sornberger, the style, embellishment and decoration of the canes, jewelry and knives of the Gold Rush era are most appealing. “San Francisco from 1850 to 1904, the Gold Rush period, was one of the wealthiest cities in the world, attracting some of the greatest artists, jewelers, carvers, and engravers to ply their trade to a wealthy clientele. The work done in that period,” he opined, “rivals the best ever done.”

In the knifemaking genre, Michael Price and Will & Finck were among the most successful and prolific of the Gold Rush. Their work remains emblematic of the great migration to settle the American West, and the riches and ruin that were found with the experience.

“Price was Irish, and both cutlery firms hired workers who were English, German and possibly Scottish,” Sornberger explained. “Their dress knives are probably the most embellished American knives made in the 1800s-1900s. The dress knives had two common handles: an interesting, modified coffin shape and a more rounded, subtle taper shape. The blade shapes are spear-point dagger and San Francisco clip spear point.”

Sornberger is recognized as an authority on original San Francisco knives, as well as the magnificent gold quartz that was used so well by Gold Rush artisans. His modern interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas.

Jim’s dress fixed-blade bowie in the accompanying picture was made with Vegas Forge stainless barstock AEBL and 412 stainless steels, and san-mai damascus steel with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s made such handles in gold and silver and nickel silver, also. The inlays are tortoise celluloid and California native gold/gold quartz.

According to Sornberger, the biggest challenge in his stunning creation was grinding the blade to show the distinctive pattern of the shell and the hardened core. The san-mai laminated blade was etched with ferric chloride, rinsed and color set with WD-40®.

The Frog Knife

“The style of Michael Price’s work is a really good canvas with flowing lines, and there is a lot you can do with it,” observed ABS master smith Jon Christensen, who is in his 22nd year of making knives. “I wouldn’t call my San Francisco-style knives replicas. I do like to keep to the original form and honor the style of the maker, though.”

The Frog Knife by Jon Christensen is a San Francisco-style dress bowie with a back story. “I had seen the Poppy Knife that Michael Price made and thought I would do my version,” he related. “I took the knife to the BLADE Show, and it didn’t find its owner. Then, the handle got ruined, and I just took the opportunity to rehandle it with the frogs and lily pads.” Overall length: 10 inches. (SharpByCoop image)
The Frog Knife by Jon Christensen is a San Francisco-style dress bowie with a back story. “I had seen the Poppy Knife that Michael Price made and thought I would do my version,” he related. “I took the knife to the BLADE Show, and it didn’t find its owner. Then, the handle got ruined, and I just took the opportunity to rehandle it with the frogs and lily pads.” Overall length: 10 inches. (SharpByCoop image)

One of Christensen’s most evocative pieces to date is referred to simply as the Frog Knife. However, the piece is far from simple, and Jon manages to convey the spirit of the Michael Price style while also imprinting some of his own personality.

“I built the feathered damascus for the blade with 1080 and 15N20,” he advised. “It’s a canister damascus. I forged the bamboo leaves and placed them in the can, welded it up, reduced it, and feather cut it so it would produce feather-cutting smears and leaves, and form branches to look like a little grove of bamboo leaves.”

The 10-inch knife has a 5.5-inch blade and a frame and sheath incorporating 410 stainless steel. Christensen utilized the “canvas” of the handle to the fullest, carving the mammoth ivory into a pleasing vignette of frogs and lily pads.

“The handle has something of a back story,” he smiled. “I had seen the Poppy Knife that Michael Price made and thought I would do my version. I took the knife to the BLADE Show and it didn’t find its owner. Then, the handle got ruined, and I just took the opportunity to rehandle it with the frogs and lily pads.”

Christensen got his start making stock removal knives after a career as a horticulturist. He learned to forge while working with ABS master smith Ed Caffrey and visited with knifemaker Rick Eaton and ABS master smiths Shane Taylor and Wade Colter. Jon also makes San Francisco folding knives and enjoys swordmaking. Plans for the future include more period pieces.

Kimball Style

ABS master smith Josh Smith owes his little league baseball coach, ABS master smith Rick Dunkerley, credit with getting him started making knives about 30 years ago. From the beginning, Josh has appreciated the thought process and craftsmanship of custom makers from a bygone era.

“There’s something special about reproducing something that was built nearly 200 years ago,” he reasoned. “It’s easy to get lost in your thoughts while working on these knives, wondering what the makers were thinking about at the time. Was the knife going into battle? Was a rich man just wanting something unique? Was the maker just trying to be different and impress people? Were function and effectiveness of use the only factors that mattered? It’s really cool to think about.”

 Josh Smith’s dog-bone-handle dagger is a reproduction of a knife owned by Loring Kimball of Vicksburg, Mississippi, in the mid-1800s. The grip gets its name from its shape. “I never pretend to exactly reproduce these knives,” Josh noted. “I always put my own spin on the knife, trying to bring some of my style into it.” Overall length: 14.25 inches. (Eric Eggly/PointSeven image)
Josh Smith’s dog-bone-handle dagger is a reproduction of a knife owned by Loring Kimball of Vicksburg, Mississippi, in the mid-1800s. The grip gets its name from its shape. Overall length: 14.25 inches. (Eric Eggly/PointSeven image)

Josh has found the opportunity to consider historical context with a dagger in the distinctive dog-bone handle, recalling the mid-1800s when a gentleman named Loring Kimball of Vicksburg, Mississippi, owned several similar original pieces that were probably made by at least two different knifemakers in the New Orleans area. Knives in what many refer to as the Kimball style have been reproduced by a number of modern makers, mostly bladesmiths.

“The distinctive characteristic of the dog bone is clearly the shape of the handle,” Smith said, “but to me it’s more than that. The large domed pins and the flat facets on the handle provide such a neat look. One of the original Kimball daggers from the 1830s had silver wrapped around the butt of the handle and a small, thin silver guard. I never pretend to exactly reproduce these knives. I always put my own spin on the knife, trying to bring some of my style into it.”

Smith’s dog-bone dagger is fashioned from his own ladder pattern “W’s” damascus blade, African blackwood handle and 18k-gold pins and liners. The 9.5-inch blade is forged from 1080 carbon and 15N20 nickel-alloy steels, while a gold collar stretches over the back of the blade and bears the engraved name of the maker. Overall length: 14.25 inches.

“This particular knife was heavily influenced by Tim Hancock,” Josh said. “I feel Tim, Harvey Dean and James Batson are the three men who led the way in bringing these knives back to prominence, and Tim had the most influence on my construction of these knives. I love period pieces and definitely plan on doing more. There are so many incredible weapons from the past that would be fun to recreate.”

*While a number of top industry authorities attribute such original 19th-century pieces as the Carrigan Knife, Bowie No. 1 and others to Black, no knives with Black’s mark are known to exist.

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8 Affordable, Cool, And Compact Keychain Knives [2022]

Updated 5/25/2022

Keychain Knives Provide Utility And Protection In A Compact Package. There Are Many Quality Keychain Knives At An Affordable Price.

From a conversation piece to the handiest blade available, nothing adds to the everyday carry equation better than the right keychain knife. With little notice until needed, a keychain cutter is ready for action but doesn’t weigh down the pocket or take up too much space in a purse.

Coming in different sizes and blade types, keychain knives are as varied as any other type of everyday carry knife but is smaller and more nimble.

8 Best Affordable Keychain Knives

Outdoor Edge MiniGrip

At Outdoor Edge, the MiniGrip, MiniBlaze, and MiniBabe are the same knife differentiated only by color in black, blaze—an orange shade—and pink, respectively. “They’re designed to meet the needs of anyone who needs a small lightweight blade that is always within reach,” Outdoor Edge marketing director William Morgan said. “We designed these knives in three colors to cater to all knife enthusiasts. When we developed this series of knives, we noticed a gap in the market for an affordable and mostly practical small knife that can be easily attached to a keychain or carried in one’s pocket.

The Outdoor Edge MiniGrip, MiniBlaze, and MiniBabe are the same keychain knife differentiated only by color in black, blaze—an orange shade—and pink, respectively. “They’re designed to meet the needs of anyone who needs a small lightweight blade that is always within reach,” related Outdoor Edge marketing director William Morgan. 
The Outdoor Edge MiniGrip, MiniBlaze, and MiniBabe are the same keychain knife differentiated only by color in black, blaze—an orange shade—and pink, respectively. “They’re designed to meet the needs of anyone who needs a small lightweight blade that is always within reach,” related Outdoor Edge marketing director William Morgan. 

“We opted to make three colors to accommodate a larger audience,” William continued. “Obviously, the orange is great for high visibility, reducing the chance of losing the knife, while the black is a little more inconspicuous, and the pink seems to be a hit with the female audience.”

Designed in Colorado and sporting a low MSRP, each knife in the Outdoor Edge series includes a 2.2-inch 8Cr13MoV stainless steel blade, rubber TPR handle, 1.4-ounce weight, and 2.9-inch closed length. Each model comes complete with a lanyard that makes attaching it to a keychain easy. Each has an ambidextrous thumb stud for easy one-hand opening as well.

“The razor-sharp blade is up to any task, from opening the latest round of Amazon Prime boxes to cutting rope or even performing field-dressing tasks,” Morgan said. “The rubberized TPR handle serves a few functions. First, this is a small knife, and we were concerned about creating a secure, non-slip grip to avoid accidents. Second, the handle does not jingle against the keys on your keychain, making it a perfect silent addition to anyone’s keys.”

MSRP: $23.95

The Bear Edge 71523

The Bear Edge 71523 from Bear & Son Cutlery complements a substantial line of knives, and company spokesperson Jacob Eaton says it’s a hit. “It’s affordable, compact and a functional tool,” he said. “Customers really like it because it’s lightweight, sharp and just the right size. Plus, you will always know where a knife is when it’s attached to your keys. We find both genders purchasing the Bear Edge 71523, and it fits everyone’s lifestyle.”

The Bear Edge 71523 is a framelock-folding keychain knife with a 2-inch blade of 440 stainless steel and a stainless handle. Weight: 2.3 ounces. Closed length:2.875 inches. The imported knife has an MSRP of $17.99.
The Bear Edge 71523 is a framelock-folding keychain knife with a 2-inch blade of 440 stainless steel and a stainless handle. Weight: 2.3 ounces. Closed length:2.875 inches. The imported knife has an MSRP of $17.99.

The imported 71523 is complete with a two-inch blade of 440 stainless steel, stainless handle, and closed length of 2.875 inches. It’s almost lighter than air at just 2.3 ounces. According to Eaton, the blade length is ideal for typical cutting tasks encountered on a daily basis. “Cutting boxes open, adjusting cordage length and other similar chores are easy with the sturdy framelock design,” he said. “And one can cut confidently.” Another utilitarian feature is the built-in bottle opener.

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The company chose the stainless components for durability, and the knife is sized for maximum versatility. “Stainless steel is a timeless design element and proven to stand against wear and tear,” Eaton said. “The finish looks natural on a keychain and doesn’t call attention. The frame pattern was developed to fit comfortably into both large and small hands. The blade is a drop point shape, allowing it to complete most tasks, and the 71523 attaches with a standard split key ring.”

MSRP: $21.49

Al Mar Knives Stinger

The Al Mar Knives (AMK) approach to keychain knives involves easy access and long-term performance, and the Stinger was developed to deliver classic AMK design and function.

Above: The Stinger fixed-blade keychain knife from Al Mar Knives features a 1.3-inch D-2 tool steel blade in a flat grind, a synthetic PP+TPR rubber handle, and dual-injected sheath of the same material. It weighs just .7 of an ounce. Overall length: 3.1 inches.

“This knife is designed to be great at slicing and fast cuts.” — Justin Rabon

“Our Stinger keychain knife is designed for anyone looking for a durable blade they can keep concealed and on hand, with or without pockets,” AMK representative Justin Rabon said. “Our users find creative ways to incorporate these on their bags, gear and keys. We feel this versatility can help reach a wide range of users across many different lifestyles. We want our keychain knives to be practical for the majority of our users. We want to find the needs in the industry and have our knives be the solution to those needs.”

The fixed-blade Stinger comes complete with a snug-fitting sheath and deploys with a push of a button. It features a 1.3-inch D-2 tool steel blade in a flat grind, a PP+TPR rubber handle, and dual-injected sheath of the same material. It weighs just .7 of an ounce. Overall length: 3.1 inches.

“This knife is designed to be great at slicing and fast cuts,” Rabon said. “It can be used for anything where a short, sharp knife is needed. To accomplish these tasks easily and repeatedly, we gave the knife a D-2 blade. D-2 is known for retaining a sharp edge after repeated use. We also designed the Stinger to have Al Mar’s Wedge-style blade. This provides a superior dagger point where needed.”

The AMK Stinger comes complete with a snug-fitting sheath and deploys with an easy push of a button. It comes in red, blue, black and green—and the green really stands out in a crowd.
The AMK Stinger comes complete with a snug-fitting sheath and deploys with an easy push of a button. It comes in red, blue, black and green—and the green really stands out in a crowd.

The Stinger’s finer points add flair and good looks as well. “The four colors that were chosen for the four Stinger knives—red, blue, black and green—were picked to provide variety while staying true to the traditional red and black of Al Mar Knives. The plastics in the handle were chosen to add extra grip and durability.”

Integral to the Stinger design is an eyelet built into the sheath, and sturdy construction prevents failures. “This makes sure the sheath doesn’t detach from the eyelet,” Rabon said, “and also allows you to replace the smaller key loop with a smaller diameter cord if desired. The Al Mar Wedge provides a superior point if needed, and the finger groove at the base of the blade allows the Stinger to sit comfortably in most hands. This improves the fit, feel, and functionality of the knife.”

MSRP: $12-23

Gerber Key Note

Gerber spokesperson Josh Headley said the focus on the company’s Key Note keychain knife is compactness. “We also wanted to add some chisel/scraping capabilities for additional functionality,” he said. “Gender wasn’t a big consideration. We just wanted to make a tool that was worthy of a place in your pocket or purse.”

Also available in black as shown, the Gerber Key Note linerlock keychain knife has a 1-inch blade of satin-finished 5Cr stainless steel that is designed to scrape as well as cut. Handle: aluminum. Weight: 3.98 ounces. Closed length: 2 inches.
Also available in black as shown, the Gerber Key Note linerlock keychain knife has a 1-inch blade of satin-finished 5Cr stainless steel that is designed to scrape as well as cut. Handle: aluminum. Weight: 3.98 ounces. Closed length: 2 inches.

Features inherent in the Key Note design brought that idea from the drawing board to reality. “We added the wide clip so that you can also hang keys on your belt,” Headley said. “The knife was designed to not draw too much attention when worn on the clip, but still have a pleasing and almost symmetrical shape. We took a lot of inspiration from the history of Gerber. The overall profile is inspired by the shield logo, as well as Gerber’s past logos and heraldic-naming conventions with a modern twist.”

The Key Note combines function with a tip of the cap to Gerber tradition. With a 1-inch blade of satin-finished 5Cr stainless steel, the knife weighs just 3.98 ounces, and its aluminum handle scales are built to last.

“The primary function of the Key Note is to open packages,” Headley said. “The thought was you get home, grab a package off your porch and open your door. You have the tool set to open your door and open your package in hand.”

The Key Note's tanto-style blade allows for scraping & chiseling along with cutting.
The Key Note’s tanto-style blade allows for scraping & chiseling along with cutting.

Available colors add to the Key Note’s appeal for those who look for discretion or want a bit of flash. “We set out to have a modern option and an old-school option for the EDC community,” Headley commented. “The matte-black anodize with the bright contrast from the orange is meant to look at home next to your key fob. The coyote and sage is designed to camouflage among a set of brass keys. We made the scales out of aluminum to increase the strength of the lockup, and so that the weight of the keys won’t knock the blade off balance. To improve longevity, the blade runs on brass washers and operates on a classic linerlock.”

The blade is in a compact tanto style to provide two flat edges that are easy to sharpen. A flat key ring gives an appropriate amount of flexibility between the ring and scales. Several different diameters of rings were tested to determine the best component. A kick-out tab is incorporated to assist in deploying the blade and allow easier opening rather than solely depending on the nail nick.

“The Key Note should be suited to light and medium opening and cutting tasks,” Josh said. “The flat edge on the front can be used to scrape everything from a label to that last bit of errant head gasket. In addition, the front of the scale can be leveraged so that the midpoint of the blade will puncture tape without damaging the contents of a box.”

MSRP: $21.60

Kershaw Cinder

Kershaw Cinder keychain knife.
Kershaw Cinder keychain knife.

If there was a knife out there that could be called adorable it’s the Kershaw Cinder, but don’t judge a book by its cover. This knife comes with a blade of 3Cr13 blade steel, and you know with the Kershaw name that it will be a quality knife from blade to handle. An excellent box cutter and utility knife or a protection piece for your keychain or purse, the Cinder plays far bigger than its size. Also, it has an integrated bottle opener and we could always use another of those.

MSRP: $13.99

Spyderco Bug Micro-Size Folding Knife 1-5/16″ Blade

Spyderco Bug Micro-Size Folding Knife 1-5/16" Blade
Spyderco Bug Micro-Size Folding Knife 1-5/16″ Blade

Sypderco has made a nimble keychain knife that feels like it should cost more than it does. At less than three inches in total length, the Bug easily slides onto a keychain and works as an excellent low-profile EDC for protection and whatever else life throws at you.

A flat-ground blade made of 3Cr13MoV stainless steel, the Bug also features a flat, stainless steel handle great for engraving or personalizing for yourself or a friend as a gift. The smallest folding knife made by Spyderco, the Bug delivers in nearly every way.

MSRP: $24.50

SOG Centi II Knife

SOG Centi II Knife
SOG Centi II Knife

Featuring a lockback design, and a blade coming in at 2.1 inches, the Centi II is a versatile knife fit for your pocket, keychain, or even on a necklace. Strong yet thin, it’s even thinner than your car key, the Centi II is robust enough to tackle any day-to-day tasks you’d expect from any other EDC. The hardcased black finish is gorgeous and adds a sleek design touch to the knife.

Victorinox Classic Swiss Army Knife

Victorinox Classic Swiss Army Knife
Victorinox Classic Swiss Army Knife

When it comes to keychain knives it’s impossible to make a list without the famous Swiss Army Knife. With seven tools and functions built into a body just 2.3 inches in length, the Swiss Army Knife is famous for its versatility and is still one of the gold standards of keychain knives.

With tools made of stainless steel that include a small blade, scissors, and a nail file with a screwdriver, the Swiss Army Knife can handle pretty much any situation life can throw at you where you’d need a quick tool. The classics become classics for a reason, and you can’t go wrong with a Swiss Army Knife on your keychain or in your pocket.

MSRP: $19.99

Mike Abelson contributed to this piece.

Bob & John Horrigan: Brothers In Arms And Blades

Bob & John Horrigan Made Knives Together. After The Former Died Defending The Country, John Kept Their Knifemaking Legacy Alive

It was a night mission, and it was dangerous—just like every mission, every moment in the deserts and villages of western Iraq or the mountains of Tora Bora in Afghanistan.
“You don’t have to come,” the others said matter-of-factly to Master Sergeant (MSG) Bob Horrigan. “You’ve only got two weeks left in the country.” The veteran Delta Force NCO, with 19½ years in the U.S. Army, three tours in Afghanistan, and a fifth in Iraq coming to an end, simply replied, “If you’re going, I’m going.”

True enough, Horrigan was just days away from returning to the USA, and he planned to retire from the Army in six months, then, in peace, to make custom knives in his shop and share that time with his twin brother, ABS master smith John Horrigan.

This night, however, there was dangerous work to be done. A raid was planned on a safehouse known to be frequented by terrorists, particularly Iraqi al Qaeda leader Abu Musab al-Zarqawi, a ruthless murderer pledged to support Osama bin Laden. Horrigan

A veteran Delta Force NCO, Bob Horrigan served 19½ years in the Army, including three tours in Afghanistan and five in Iraq. He was killed during a raid on a safehouse frequented by terrorists, including Iraqi al Qaeda leader Abu Musab al-Zarqawi. Bob was laid to rest with full military honors at Arlington National Cemetery.
A veteran Delta Force NCO, Bob Horrigan served 19½ years in the Army, including three tours in Afghanistan and five in Iraq. He was killed during a raid on a safehouse frequented by terrorists, including Iraqi al Qaeda leader Abu Musab al-Zarqawi. Bob was laid to rest with full military honors at Arlington National Cemetery.

When the call went out for someone to serve as a master breacher during the mission, blasting doors and first inside a building where hostiles might be hiding, Bob Horrigan said without hesitation, “I’ll breach.” In the town of al Qaim in western Iraq, the Delta Force team, accompanied by additional Special Forces personnel, moved toward the suspected Zarqawi safehouse. With MSG Michael McNulty at Bob’s side and the rest of the team close by, the two were first to enter the enemy compound.

Bob made it into a nearby room, and a machine gun opened up. McNulty was hit in the doorway. Bob was fatally wounded seconds later. Both died within a few hours.
“It was about 7 in the morning. I was at home, and Bob’s brother-in-law, Mark England, came to the house,” John Horrigan recalled. “Our sons were best friends, and I thought he was coming to tell me that my son had gotten into trouble. He said, ‘No, John. It’s Bob.’”
The news was devastating, and Bob Horrigan was laid to rest with full military honors at Arlington National Cemetery, following a funeral service in Austin, Texas. He left behind his wife, Denise; young daughter, Courtney; older sister, Lisa; younger brother, David; many friends and relatives; and, of course, twin brother John.

To say Bob and John shared a special bond, even as identical twins, would be an understatement. Their mannerisms and speech patterns were so alike, and they experienced the joy of growing up inseparable. They also shared their love of service to their country, and later came a great interest in custom knives.

First Drop Zone

The brothers were born in Limestone, Maine, on Jan. 13, 1965. “I came into the world seven minutes before Bob, so I cleared the drop zone. We always said he was a hung jumper,” John smiled. “We’re identical twins, so I got into fistfights for him, and he got into fistfights for me. It was like the Doublemint®-Spearmint commercial, and it was that way in school and in the Army. He continues to be half of me. He is still here, and I can feel his presence out in the shop now and then.”

John made his first knife in high school. Instead of making a planter as his shop project, he found a piece of O1 tool steel and went to work on the knife. His son carries the same fixed blade today, first with a cherry handle and later with one of maple. For 24 years now, John has worked as a firefighter with the Austin Fire Department, the family’s hometown after moving from Maine to Florida and then to Texas years ago.

John enlisted in the Army in 1984, six months ahead of Bob. The two became Rangers, elite soldiers engaging in demanding training programs and taking on the most hazardous combat operations. They served in the 3rd Ranger Battalion, 75th Ranger Regiment, and Captain Stanley McChrystal, who later reached the rank of general and commanded American forces in Afghanistan, led Company A.

John spent three years on active duty as an Army Ranger. Bob stayed in and spent about eight years with the 7th Special Forces Group and 9.5 years with Delta Force. Even among the elite of the 7th Special Forces and the clandestine Delta Force, Bob stood out. He attended just about every training school imaginable, including the Basic Airborne Course, Jungle Warfare Training Course, Special Forces Qualification Course, Military Freefall Jumpmaster Course, and several others. In 1987, he competed in the Best Ranger competition at Fort Benning, Georgia, and placed second.

He was a leader of hardened, highly trained military professionals, and among his numerous decorations were the Bronze Star, Purple Heart, Legion of Merit, Combat Infantryman Badge, and Expert Infantryman Badge. The full list of his accomplishments during a distinguished two-decade career is literally too long to include in this story.
Several well-known authors have written about his exploits, including Brad Thor, Pete Blaber, Sean Naylor, and George Hand IV. In writing of the funeral of a central character in one of his novels, Thor is actually describing Bob’s funeral, an all-too-real and somber event.

In his book The Mission, The Men, and Me, former Delta Squadron Commander Blaber remembered Bob and wrote, “After unshouldering his ruck, Bob H. scotched forward on his belly. He stopped behind a small pile of rubble. Canting his head slowly, he spied the valley below. His eyes and ears strained to detect any unnatural noise or movement; Bob was focused like a man whose finely tuned autonomic nervous system is programmed to maintain perfect equilibrium between the thrill of the hunt and the thrill of the chase. Bob understood his status as both the hunter and the hunted. He liked it that way … Courage has been called a contradiction in terms, meaning a strong desire to live manifesting as a readiness to die. It described Bob and his mates to a tee.”

During those long deployments to combat zones, Bob stayed in touch with John, mostly via email. “He would send one to me, and I would respond,” John said. “The next morning there was another one waiting for me. Robert downplayed a lot of what was going on. He’d say, ‘Not much happening here … I’m bored.’ But he was lying. They were in firefights every day; he just didn’t want people to worry about him.”

 In his book The Mission, The Men, and Me, former Delta Squadron Commander Pete Blaber wrote of Bob Horrigan (above): “Bob understood his status as both the hunter and the hunted. He liked it that way … Courage has been called a contradiction in terms, meaning a strong desire to live manifest as a readiness to die. It described Bob and his mates to a tee."
In his book The Mission, The Men, and Me, former Delta Squadron Commander Pete Blaber wrote of Bob Horrigan (above): “Bob understood his status as both the hunter and the hunted. He liked it that way … Courage has been called a contradiction in terms, meaning a strong desire to live manifest as a readiness to die. It described Bob and his mates to a tee.”

Meanwhile, there were those precious times that Bob came home, mostly during the Christmas season, and the twin brothers picked up where they had left off during a prior visit. One of their primary topics was—of course—knives.

$50 Sander

John was 21 when he left the military, and he visited a knife and gun show in Austin with a pair of his own custom knives and a couple of makeshift cardboard wheels under his arm that he used as sharpeners. He met Houston-based custom knifemaker Ed Thuesen, who also owned Texas Knifemakers Supply.

“Ed saw those under my arm and said, ‘Don’t use that crap!’” John recalled. “I told him I couldn’t afford a new sander, and he said that he had a used one in Houston that he would sell for $50, but I would have to drive there to pick it up, and he wanted cash. I said, ‘Deal!’” Later, John bought a brand-new Bader sander and sold the used one to Bob—
for $50.

“I got into knifemaking, and then I got Bob into it,” John smiled. “He mainly made military fighters for guys in his unit, for Navy SEALs or whoever. He had more business than I did.”
At Fort Bragg, North Carolina, home of the Army’s Airborne and Special Operations Forces, Bob set up a knife shop in a lawnmower shed. Power was supplied with an extension cord, running through a sliding glass door to the shop’s tools. He enjoyed working with 440C and 154CM stainless steels, but he couldn’t forge on the Army post. Hence, when he needed a piece of damascus, John gladly supplied it.

“He wrote me a letter once telling me how much he loved coming home, coming to the shop and learning new things,” John remarked. “He would tell me that copying someone else was the highest form of flattery, and if you look at Robert’s knives they were similar to the knives I made. But he’s my brother, and I don’t care. Later, he got into his own designs, and now my best-selling knife is one of Robert’s designs.”

That legacy design is the Robert “Bob” Horrigan Military Fighter, available from John today in the notable style that has become popular in the military as well as the general public. The fighter is 11.25 inches overall with a 6.375-inch blade of 440C stainless steel and a handle of black linen Micarta®. The knife weighs 8.7 ounces and is accompanied by a Kydex sheath.

“I actually didn’t make the Bob Horrigan,” John related. “I made my Model 1 and others, but there were some guys from the 160th Night Stalkers who were on the mission that night and asked if I would make the Bob Horrigan knife. Now I make the Bob Horrigan, and I make them the way he did.”

Through the years, John has established himself among the best bladesmiths and custom knifemakers around. His daggers, tomahawks, and fighters are acknowledged as fine work, and his dazzling inlay with precious metals is something to behold. “I tell everybody that is my Picasso work,” he laughed.

Tremendous Spirit

Living quietly in Burnett, Texas, about an hour outside Austin with Donna, his high school sweetheart and wife of 33 years, John works in a 30×40-foot shop on his farm, dotted with chickens, goats, and bees. Donna says the shop is as big as the couple’s first house. They have two grown children, Matthew and Krystal, and two grandchildren, whom they adore.
Reflecting quietly, John observes, “The greatest thing that has happened since Bob’s death is that he brought me back to God, and that is the best thing he could ever leave me. Being twins, it was pretty rough, and it felt like half of me was gone. Bob came to me at the BLADE Show* two years before he was killed and said, ‘I’m coming back to God. At the time I just said, ‘Great!’ but when he was killed, God was what got me through it.

 Designed by Bob Horrigan, the Robert “Bob” Horrigan Military Fighter is ABS master smith John Horrigan’s best-selling model. “I make them the way he did,” John said, including a 6.375-inch blade of 440C stainless steel, a black linen Micarta® handle and a Kydex sheath.
Designed by Bob Horrigan, the Robert “Bob” Horrigan Military Fighter is ABS master smith John Horrigan’s best-selling model. “I make them the way he did,” John said, including a 6.375-inch blade of 440C stainless steel, a black linen Micarta® handle and a Kydex sheath.

“I started living for Robert, for my family and doing what God wanted me to do,” John continued. “I know where Robert is now, and I know where I’m going. Bob killed a lot of people and that worried him. So he went to the chaplain, who told him that the Bible said not to murder. It didn’t say not to kill in defense of your country. So, he was good with that. I don’t think my brother ever had PTSD because he had God.”

John received his ABS master smith rating shortly before Bob was killed, and as he continues to live his dedicated life, he takes comfort in the fact that his brother, who also wanted the ABS designation, knew that John had achieved it.

In recent years, John has made presentation knives depicting the American flag for Delta Force and for former President George W. Bush, whom he met at Fort Bragg during a visit after Bob’s death. He presented the knife to “W” sometime later in Dallas.

John is generous with Honor Flight Austin, donating knives that raised $19,000 at auction, paying for 19 veterans of World War II to visit their memorial in Washington, D.C. At one auction event, he presented a Bob Horrigan fighter to Admiral William H. McRaven, commander of U.S. Special Operations Command. At an auction the following year, he presented a Bob Horrigan fighter to Medal of Honor recipient Sergeant Salvatore Guinta of the 503rd Infantry Regiment, 173rd Airborne Brigade Combat Team.

During each of these events, John has felt his twin brother right there with him. In service to his country, Bob made men. In the shop, he made knives with lasting, honorable attributes like those who carry them today. Noted John, “The sacrifice of these young men and women is incredible.”

For the elder Horrigan, every day is a tribute to his brother. Their love of the custom knife is an unbreakable link, and to be sure, every knife that John will ever complete carries something of Bob’s tremendous spirit with it.

Read More About The Horrigans

Modern Period Knife: A Link To The Past And Present

Blending old and new, the modern period knife brings history alive in masterpieces.

Historical perspective is a relevant component in just about any undertaking. In the realm of cut, incorporating an appreciation of the past into the work of today brings another dimension to the custom knifemaker’s statement.

Interest in the knifemaking of a bygone era offers a window into the true artistry required to reproduce the knives of yesteryear, particularly with the absence of modern conveniences in the shop. Along with the interest in the historical knife, several custom makers bring famous designs, styles and patterns to life once again in tribute to those who have gone before.

The idea of the period knife blends old and new. “I’ve been making knives seriously since about 2002 when I took a class with the American Bladesmith Society in Washington, Arkansas,” related ABS master smith Lin Rhea. “Joe Keeslar and Greg Neely lit a fire under me and got me on my way. Since then the town of Washington has been like a second home, and I’ve even added to the personal connection between me and the area by interest in one of the town’s historical residents who was also a knifemaker. His name was James Black.”

A resident of Prattsville, Arkansas, Lin gained an appreciation for Black’s distinctive body of work*, using contrasting materials and techniques to create a bold, attractive look. “I’m grateful to get to know Mr. Black by studying his work,” Lin continued. “This intense study led me to try to recreate one of his knives, the Carrigan Knife. The original knife, a guardless coffin-handled bowie, was made by Mr. Black in the early 1830s in Washington, Arkansas. I chose the Carrigan as my first attempt because of its less intimidating size; however, as is often the case I found it to be just as intimidating once I started into the project.”

Lin Rhea’s period knife, a reproduction of the Carrigan Knife is based on a dress bowie James Black is thought to have made in the early 1830s in Washington, Arkansas. The original Carrigan includes a black walnut handle with coin silver pins and trim. The blade is about 6 inches long and the overall length is approximately 10.25 inches. (Whetstone Studio image)
Lin Rhea’s period knife, a reproduction of the Carrigan Knife is based on a dress bowie James Black is thought to have made in the early 1830s in Washington, Arkansas. The original Carrigan includes a black walnut handle with coin silver pins and trim. The blade is about 6 inches long and the overall length is approximately 10.25 inches. (Whetstone Studio image)

The original Carrigan includes a black walnut handle providing a nice contrasting background to the coin silver pins and trim. The blade is about 6 inches long, and the overall length is approximately 10.25 inches. The full tang is virtually covered entirely by the walnut scales and the silver wrap.

When Rhea undertook his homage to Black and the Carrigan, he chose stabilized walnut, which he harvested himself several years ago, and trim in sterling silver. He forged the blade from 80CrV2 carbon steel and included at least 30 separate parts while attempting the same techniques used by Black nearly two centuries ago in fastening and assembling the finished knife.

“There is so much to be said about not only this knife but also Black’s work,” Lin concluded. “He was able to create a knife design utilizing only three materials yet impacting the knife world as few others could. His ability to arrange these materials into a functional, long lasting, beautiful tool is only enhanced by the knowledge that he also built in other qualities like moisture resistance, logical assemblage and ergonomics. All of this was done in a historic setting without modern equipment and epoxies. In my opinion, his design is ingenious.”

The Gold Rush Period Knife

Recently inducted into the BLADE Magazine Cutlery Hall of Fame® (September BLADE®, page 52), knifemaker Jim Sornberger has assimilated his gold and silversmith skill sets into custom knifemaking while helping introduce the modern world to the classic design, luster and embellishment of the Gold Rush era and boomtown San Francisco of the mid-19th century.

BLADE Magazine Cutlery Hall-Of-Fame® member Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. This period knife features a blade in Vegas Forge stainless barstock AEBL and 412 stainless steels and san-mai damascus with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s price for a similar knife: $3,500. (SharpByCoop image)
BLADE Magazine Cutlery Hall-Of-Fame® member Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. This period knife features a blade in Vegas Forge stainless barstock AEBL and 412 stainless steels and san-mai damascus with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s price for a similar knife: $3,500. (SharpByCoop image)

“I’ve been making knives since 1975 with the help of the late Les Berryman, an early Guild member, and with some guidance from Bob Loveless, Herman Schneider and Barry Wood,” Jim recalled. “The last three signed for me to join The Knifemakers’ Guild.”

For Sornberger, the style, embellishment and decoration of the canes, jewelry and knives of the Gold Rush era are most appealing. “San Francisco from 1850 to 1904, the Gold Rush period, was one of the wealthiest cities in the world, attracting some of the greatest artists, jewelers, carvers and engravers to ply their trade to a wealthy clientele. The work done in that period,” he opined, “rivals the best ever done.”

In the knifemaking genre, Michael Price and Will & Finck were among the most successful and prolific of the Gold Rush. Their work remains emblematic of the great migration to settle the American West, and the riches and ruin that were found with the experience.

“Price was Irish, and both cutlery firms hired workers who were English, German and possibly Scottish,” Sornberger explained. “Their dress knives are probably the most embellished American knives made in the 1800s-1900s. The dress knives had two common handles: an interesting, modified coffin shape and a more rounded, subtle taper shape. The blade shapes are spear-point dagger and San Francisco clip spear point.”

Sornberger is recognized as an authority on original San Francisco knives, as well as the magnificent gold quartz that was used so well by Gold Rush artisans. His modern interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas.

Jim’s dress fixed-blade bowie in the accompanying picture was made with Vegas Forge stainless barstock AEBL and 412 stainless steels, and san-mai damascus steel with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s made such handles in gold and silver and nickel silver, also. The inlays are tortoise celluloid and California native gold/gold quartz.

According to Sornberger, the biggest challenge in his stunning creation was grinding the blade to show the distinctive pattern of the shell and the hardened core. The san-mai laminated blade was etched with ferric chloride, rinsed and color set with WD-40®.

Frog Knife

“The style of Michael Price’s work is a really good canvas with flowing lines, and there is a lot you can do with it,” observed ABS master smith Jon Christensen, who is in his 22nd year of making knives. “I wouldn’t call my San Francisco-style knives replicas. I do like to keep to the original form and honor the style of the maker, though.”

Jon Christensen’s San Francisco-style folder includes a blade of feathered leaf damascus steel and a handle of carved mammoth ivory with inlay of 4,500-year-old bog oak. Quite a period knife. (ChantryLeePhotography.com image)
Jon Christensen’s San Francisco-style folder includes a blade of feathered leaf damascus steel and a handle of carved mammoth ivory with inlay of 4,500-year-old bog oak. Quite a period knife. (ChantryLeePhotography.com image)

One of Christensen’s most evocative pieces to date is referred to simply as the Frog Knife. However, the piece is far from simple, and Jon manages to convey the spirit of the Michael Price style while also imprinting some of his own personality.
“I built the feathered damascus for the blade with 1080 and 15N20,” he advised. “It’s a canister damascus. I forged the bamboo leaves and placed them in the can, welded it up, reduced it, and feather cut it so it would produce feather-cutting smears and leaves, and form branches to look like a little grove of bamboo leaves.”

The 10-inch knife has a 5.5-inch blade and a frame and sheath incorporating 410 stainless steel. Christensen utilized the “canvas” of the handle to the fullest, carving the mammoth ivory into a pleasing vignette of frogs and lily pads.

“The handle has something of a back story,” he smiled. “I had seen the Poppy Knife that Michael Price made and thought I would do my version. I took the knife to the BLADE Show and it didn’t find its owner. Then, the handle got ruined, and I just took the opportunity to rehandle it with the frogs and lily pads.”

Christensen got his start making stock removal knives after a career as a horticulturist. He learned to forge while working with ABS master smith Ed Caffrey and visited with knifemaker Rick Eaton and ABS master smiths Shane Taylor and Wade Colter. Jon also makes San Francisco folding knives and enjoys swordmaking. Plans for the future include more period knife examples.

Kimbll Style

ABS master smith Josh Smith owes his little league baseball coach, ABS master smith Rick Dunkerley, credit with getting him started making knives about 30 years ago. From the beginning, Josh has appreciated the thought process and craftsmanship of custom makers from a bygone era.

A period knife reproduction of the I*XL George Washington Hunting Knife by Doug Noren gets the full treatment in a 13.5-inch blade of 5160 carbon steel, a mother-of-pearl handle and 18k plated nickel silver. Overall length: 21.5 inches. (Whetstone Studio image)
A period knife reproduction of the I*XL George Washington Hunting Knife by Doug Noren gets the full treatment in a 13.5-inch blade of 5160 carbon steel, a mother-of-pearl handle and 18k plated nickel silver. Overall length: 21.5 inches. (Whetstone Studio image)

“There’s something special about reproducing something that was built nearly 200 years ago,” he reasoned. “It’s easy to get lost in your thoughts while working on these knives, wondering what the makers were thinking about at the time. Was the knife going into battle? Was a rich man just wanting something unique? Was the maker just trying to be different and impress people? Were function and effectiveness of use the only factors that mattered? It’s really cool to think about.”

Josh has found the opportunity to consider historical context with a dagger in the distinctive dog-bone handle, recalling the mid-1800s when a gentleman named Loring Kimball of Vicksburg, Mississippi, owned several similar original pieces that were probably made by at least two different knifemakers in the New Orleans area. Knives in what many refer to as the Kimball style have been reproduced by a number of modern makers, mostly bladesmiths.

“The distinctive characteristic of the dog bone is clearly the shape of the handle,” Smith said, “but to me it’s more than that. The large domed pins and the flat facets on the handle provide such a neat look. One of the original Kimball daggers from the 1830s had silver wrapped around the butt of the handle and a small, thin silver guard. I never pretend to exactly reproduce these knives. I always put my own spin on the knife, trying to bring some of my style into it.”

Smith’s dog-bone dagger is fashioned from his own ladder pattern “W’s” damascus blade, African blackwood handle and 18k-gold pins and liners. The 9.5-inch blade is forged from 1080 carbon and 15N20 nickel-alloy steels, while a gold collar stretches over the back of the blade and bears the engraved name of the maker. Overall length: 14.25 inches.

“This particular knife was heavily influenced by Tim Hancock,” Josh said. “I feel Tim, Harvey Dean and James Batson are the three men who led the way in bringing these knives back to prominence, and Tim had the most influence on my construction of these knives. I love period knives and definitely plan on doing more. There are so many incredible weapons from the past that would be fun to recreate.”

*While a number of top industry authorities attribute such original 19th-century pieces as the Carrigan Knife, Bowie No. 1 and others to Black, no knives with Black’s mark are known to exist.

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