Knife collecting is an extremely rewarding experience for knife enthusiasts. There truly is a knife for everyone. Many increase or hold their value throughout the years, making collecting knives something to pass on to the next generation of knife collectors.
Pro-Tech’s new Chris Kyle Frog Collection is anchored by the Model 752, a spin on the Godson Tuxedo. The Chris Kyle “Legend” logo is lasered into the ivory Micarta inlays. Proceeds benefit the Chris Kyle Frog Foundation.
Stubby blades designed for the Golden State may also hold appeal for those elsewhere. That seems to be the thinking behind SOG’s discreet California Special, which could be described as an entry model for new collectors.
This series won’t hit shelves until May 1, but it’s worth keeping an eye out. This USA-made auto is slated to retail for $125.
Final specs aren’t available yet, but the series will offer S30V blades and four style options.
Benchmade Coalition® Family
The models in this series (or family) aren’t necessarily distinct variants. Instead, buyers can choose from plain or serrated edges, and satin or coated finishes. That makes for four possible combinations for this EDC auto.
PROCEEDS BENEFIT WOUNDED WARRIOR OUTDOORS AND WILD SHEEP FOUNDATION
The Raboud Dagger by award-winning knifemaker Dennis Friedly sold for $50,000 at a live auction this last January, with proceeds from the sale benefitting both Wounded Warrior Outdoors, Inc., and the Wild Sheep Foundation.
Sponsored by Heritage Collectables, the knife was auctioned during the Wild Sheep Foundation (WSF) Show in Reno, Nevada.
The dagger is named in honor of Ron Raboud, founder of Wounded Warrior Outdoors (WWO). The quote Sandra Brady scrimshawed on the handle is from the closing speech Raboud gave at the Wild Sheep Foundation Banquet in 2016.
“Wounded Warrior Outdoors is a non-profit charity providing recently wounded servicemen and women with therapeutic outdoor adventures across North America,” Dennis wrote. “WWO is a completely volunteer charity with no paid staff or needless overhead. It is an honor to work with these organizations.”
For more information contact Dennis Friedly, Dept. BL8, 12 Cottontail Lane E., Cody, WY 82414 307-527-6811 [email protected], friedlyknives.com. For more on WWO, visit woundedwarrioroutdoors.com. For more on WSF, visit wildsheepfoundation.org.
For the latest knives, knife news, trends and more visit blademag.com, BLADE®’s popular Instagram page @blade_magazine, and on Facebook and Twitter.
During the Buck Collectors Silver Anniversary, David Yellowhorse is inducted into the Buck Collectors Club Hall Of Fame. From left: Larry Oden, David Yellowhorse, Gene Merritt and John Foresman.
Hundreds of Buck knife collectors converged on Spokane, Washington, and Post Falls, Idaho, last week for the Buck Collectors Club International’s 25th Anniversary Gala.
A celebration of Buck knives, seminars on Buck knives, tours of the Buck manufacturing plant just across the border in Post Falls, and much more highlighted the event, which drew collectors from all over the country.
The event kicked off with a banquet Tuesday night, and included the induction of four into the BCCI Hall Of Fame: knifemaker Jerry Bodner, Jane Davie and the aforementioned Mssrs. Yellowhorse and Wilson. BLADE® (www.blademag.com) Magazine Editor Steve Shackleford served as the banquet keynote speaker and was presented with a special plaque in recognition of his work with the BLADE Show (www.bladeshow.com) and support of the BCCI over the years.
Wednesday included a complete slate of seminars and factory tours. The seminars included one on Buck Yellowhorse knives by award-winning Buck Yellowhorse collector Gene Merritt. The day was capped by a sunset dinner cruise on the nearby Lake Coeur d’Alene. Thursday featured seminars by CJ Buck on what’s on the horizon at Buck Knives and on Buck Customs by John Foresman, Leroy Remer and Wilde Bill Cody, among others. A “Knife Swap Plus” was held Thursday evening and included Russ Donoghue signing his new BCCI History Book, raffles, auctions, artist demos and more. The event concluded with more seminars Friday, including one on the Buckmaster/M-9 and Buck Tactical Knives by Rich Neyman, and a Buck Knife Survival Seminar by Karen Hood. A picnic at the home of Chuck and Lori Buck was a fitting end to the extravaganza.
For more information on the BCCI, visit www.buckcollectorsclub.org.
It’s easy to use steel type as shorthand for quality, but that’s only one factor when it comes to the performance of a knife. Heat treating, Rockwell hardness and geometry also matter.
Sure, it’s all about the steel. Blade steel makes the knife world go ’round, right? Well, further analysis just might reveal a few additional elements that weigh in on the sharpness of a knife blade, and custom knifemakers already account for these factors when they complete their stock in trade.
In Search of “True Sharpness”
Considering heat treat, edge geometry, handle ergonomics, Rockwell hardness and other contributors, the comprehensive analysis of “true sharpness” is an eye-opening experience.
“Assume that all knives are sharp when you get them,” said maker Jerry Hossom. “The question is more about what you want to cut, and is the edge geometry and finish one that will do the work you want done. For example, a sharp but coarse edge will not hold up well with hard blade materials.”
Frankly, the ingredients are intertwined, and the path to true sharpness makes frequent stops along the way.
Experience in making and cutting with various materials and knife designs brings knowledge of the process and the expected results.
Physical Features
ABS master smith Jim Crowell has won a number of cutting competitions through the years, including the first ABS/BLADE Show World Championship Cutting Competition in 2003. Here is the knife he used and his championship belt buckle. (Jim Crowell images)
“I can and will only speak from personal experience,” commented ABS master smith Jim Crowell, winner of numerous cutting competitions through the years, including the first ABS/BLADE Show World Championship Cutting Competition in 2003. “Since it would be difficult if not impossible to tell by looking, I would consider the reputation of the maker and his or her history.
“Not knowing who made the knife, I would consider the following: Visualize the geometry and edge treatment. The intangible here is the heat treat. If I’m looking at a knife I know nothing about, the physical features that herald sharpness and performance are blade grind/geometry and the edge. If the blade is ground from the spine to the cutting edge, it achieves the smoothest transition from ‘zero’ at the cutting edge to the full thickness of the spine.
“In my opinion, a flat-ground blade with a convex edge is the best geometry. This is the smoothest transition from cutting edge to spine irrespective of spine thickness or width.”
Steel Type & Blade Performance
“Buying a knife from a reputable maker should be simple,” Tim Britton noted. “My questions would be steel type, Rockwell hardness, and what kinds of tools the maker has in their shop.” Tim’s gentleman’s slippy boasts a 2.5-inch blade of BG-42 stainless steel. Closed length: 3.25 inches. (Eric Eggly/PointSeven image)
Of course, a quick nod to the steel has to figure in. Without the steel itself, nothing else matters.
“How often have I heard that a knife holds an edge very well but is too difficult to sharpen?” Hossom offered. “They are opposite sides of the same coin. Wear resistance in cutting is the same attribute as wear resistance in sharpening, and again, it depends on the intended use.”
Discussion also surrounds standard versus premium steels, given that either is properly prepared.
“So-called standard steels have their place, but I’m not sure where,” explained maker Tim Britton. “I started with O1 in 1972 and Blackie Collins talked me into using 440C. Peer pressure… Ted Dowell, Frank Centofante, Jimmy Lile and Bob Dozier had settled on D2. New stuff like S35VN leaves them all in the dust. It takes twice as many belts to grind the blade and is max stain resistant. I’ve had great field reports from guides who dress a lot of deer, and one who is a pest control hunter and kills a lot of hogs and nutria.”
According to Crowell, everyone probably agrees that quality steel is a must.
“Some steels lend themselves to cutlery more so than others,” he reasoned. “There are some ‘exotic’ steels that truly outperform, but they are usually more expensive and harder to work with. Then, there are inexpensive steels used in cheap manufactured knives sold in bargain stores.”
Crowell looks at the long-time rub between carbon and stainless steels and likes the “10” series spring steels, 5160, O1, W2 and L6, among others. He prefers steels with 75 percentage points of carbon or more, though 5160 with 60 points of carbon is workable as well.
Rockwell Hardness
For some makers, Rockwell hardness sets the bar in potential sharpness for knife blades. Other factors are important but the scale tells the tale.
“Rockwell hardness has a huge influence on how sharp you can get a knife and how it will hold an edge,” asserted maker Murray Carter. “There may be a rebuttal out there, but I believe it is a universal truth. If hardness is related to how sharp you can get the blade and how it will hold an edge, the element of carbon is responsible for the hardness you can achieve.”
Hardness is forever linked to heat treating. Blades that are not heat treated properly just won’t stay sharp—and they are likely to fail in other performance metrics as well. Game over!
Heat Treating
“Unless it is heat treated properly, a steel is an undefined mass of metal with uncertain performance qualities,” custom knifemaker Jerry Hossom pointed out. “In fairness, it should not even be labeled as a specific type of steel because such a label implies proper heat treatment.” The blade material on Jerry’s fighter is the high-performance CPM 3V carbon steel. (Eric Eggly/PointSeven image)
Proclaimed Britton, “Heat treating is critically important for any steel.”
Added Hossom, “Unless it is heat treated properly, a steel is an undefined mass of metal with uncertain performance qualities. In fairness, it should not even be labeled as a specific type of steel because such a label implies proper heat treatment. I have my blades professionally heat treated by Paul Bos Heat Treating because I simply can’t do it as well as he can, especially with high alloy, high performance grades of steel.”
Carter echoed that sentiment.
“Heat treating is so important,” he emphasized. “All our blades are quenched in water, while some quench theirs in oil. Others are just air hardened. Water quenching is severe, an extreme form, and the only one harder is brine quenching.”
Geometry
Crowell ups the ante with the bold statement, “My strong opinion is that heat treat and geometry are more important to the performance of a knife than the specific type of steel. The best steel in the world would not fare well if the heat treat was bad and the geometry poor.”
Stressing edge geometry, Crowell further advises, “Edge geometry is particularly important. If a maker tests his work and is confident about the heat treat but the knife is not cutting well, the edge can be adjusted or ‘rolled’ to a different shape.”
What Factor is the Most Important?
So perhaps the most important takeaway from a discussion on sharpness is the advice the pros give to prospective buyers. Assessing the sharpness and relative quality of the future cutting experience involves a discerning eye and some attention to detail. What advice do custom knifemakers over the buying public?
“I would start by looking at the knife and seeing if the geometry looked good and how well made the knife appeared to be,” Crowell advised. “That would show the maker was paying attention to detail and would be a positive sign to me. I would ask what kind of steel was used and how it was heat treated, and by whom. There are several very good heat treaters out there. If the maker did the heat treat, I would ask how—oven, forge, kiln, torch? I would want to know if the maker tests his work and if he has chopped, whittled, and cut stuff.”
The inquiry is basic, Britton says, and the maker should be forthcoming with reasonable responses.
“Buying a knife from a reputable maker should be simple,” he noted. “My questions would be steel type, Rockwell hardness, and what kinds of tools the maker has in his shop. I’m a dinosaur. I won’t buy a production knife that was made by machines in batches of 20 or 30. I’m a proud member of the ABS and don’t know any steel beaters who mass produce any design.”
The sharpness of a knife blade goes well beyond the steel. The combination of steel, hardness, heat treat, edge geometry and handle ergonomics feeds the finished product. However, these are only as supportive of the knife’s function as the skill set of the maker’s hand in action.
Maybe it’s a bit of a contradiction, but both elegance and simplicity are elements of African blackwood, a handle material with a rapidly rising profile in the custom knife industry.
The color of the material combined with properties that make it a pleasure to work with has resulted in an explosion of interest. Ranging in luster from a reddish to a deep black hue, the wood is the product of a flowering tree also known as granadilla or mpingo. A relatively small tree, it grows primarily in the forests of Senegal east to the horn of Africa and in some parts of South Africa. Long used in musical instruments and high-end furniture, African blackwood is protected in order to prevent overharvesting.
Ken Hall’s sgian dubh features a 4.25-inch blade of twist damascus in a blend of 1075 spring and 15N20 nickel alloy steels. The pommel is formed from stone and giraffe bone. The African blackwood handle not only is ideal for its carvability but also in keeping with the sgian dubh’s name, which is Scottish for black knife.
When the material finds its way to a knife handle, something dazzling happens, and the makers who use it sing its praises. “I’ve always loved black-handled knives, especially with brass,” related Abel Price of Fayetteville, Arkansas, a part-time maker who is completely self-taught. “The black and gold combo just pops and gives it a beautifully elegant Art Deco feel.”
In the mountains of western North Carolina, ABS master smith Andrew Meers finds African blackwood a pleasure to work with. “It’s a dense and stable wood with a consistent grain structure that is excellent for handle material. It is workable and carves well,” he noted. “It has a rich, dark color and finishes out beautifully when sanded, and I haven’t noticed any cracking, shrinking or expanding, especially compared to the cracking I’ve noticed at times in similar looking wood such as ebony. I think these qualities contribute to its growing popularity among makers.”
Abel Price used African blackwood for the handle of his Deco Petty kitchen knife. He said the handle “was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines.”
Andrew uses rasps and files for shaping, a flex shaft for carving, and prefers to sand and buff to finish his handles of the material. Last of all, he applies a coat of Danish oil. So, the finished product is just what the maker wants, and getting there is most often a pleasurable journey rather than an arduous trek. African blackwood exhibits excellent stability and takes a shine quite well. Custom makers agree that the material is ideal for carving, though whether it carves easily or not is open to the interpretation of the individual maker.
“I think the main reason for its carving ability is that it is hard,” commented Pekka Tuominen, a 17-year maker from Keitele, Finland. “Wood has to be hard if you wish to carve it with sharp and tight curves, and also polish those curves. Let’s say it’s not easy to carve, but when wood is hard you can get a good finish. Of course, it’s popular, too,” he observed. “Everybody knows that if some famous knifemaker uses a material, then the rest of the makers at least want to test it.”
MORE ATTRIBUTES
Waynesville, North Carolina-based ABS journeyman smith Ken Hall appreciates additional attributes of African blackwood. “I like using it because it’s a very dense wood, doesn’t require stabilizing, is hard and does not crack easily,” he stated. “It has a tight grain structure, so you don’t have to fill voids, and it can be carved or shaped without difficulty and provides a dark contrast to a steel blade.”
Huginn and Muninn are the names for two bowies by Richard Dawes. Huginn and Muninn are two mythical ravens that attend Odin. Dawes carved the African blackwood handles in a bird’s-head motif based on the style of bladesmith Bill Bagwell, one of the founders of the American Bladesmith Society.
Securing the handle to the blade most often involves a quality epoxy and a combination of pins, depending on the type of knife under construction. “I use rivets, pins and epoxy,” Pekka said, “but I don’t use African blackwood for full tangs. With hidden tangs sometimes just epoxy will keep the tang solid inside the handle.”
When Price went to work on his Deco Petty, a kitchen knife creation with a 6.5-inch blade of AEB-L stainless steel, overall length of 12 inches, and a handle of African blackwood, deer antler and a copper spacer, he knew just what he wanted to achieve. “The goal was to hit form and function,” he commented. “The ultra-thin cutting edge flexes with lateral pressure, and a Rockwell hardness of 61 [HRC] makes for a laser sharp tool in the kitchen. The handle was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines. African blackwood does everything you want it to do with a perfect finish.”
Hall fashioned his sgian dubh as an interpretation of a historical Scottish knife. “African blackwood is the ideal wood for the sgian dubh because it can be carved and shaped to the hourglass design of the traditional sgian dubh handle,” he noted, “and provide an eye-catching contrast to the stainless steel bolster and pommel.” He added that blackwood is his preferred wood for a handle with a keyhole design because it can take the force applied to pressing the wood into the keyhole.
AESTHETICS & FUNCTION
Meers made the striking Vulpecula with a 12-inch damascus blade of 1084 carbon and 15N20 nickel alloy steels. Meanwhile, something of a surprise is embedded in the African blackwood handle.
Matt Gregory’s LWT (Lum-Walton Tanto) is based on a design by Mike Walton inspired by the late Bob Lum. The African blackwood handle is polished to a mirror shine and tapers slightly in reverse of the tang, and has a delicate bulge in the center to provide for a subtle yet improved grip. The sheath (not shown) is by Jill Gregory.
“Vulpecula is a reliquary dagger,” Andrew explained. “It is inspired by the tradition of keeping objects, often hair or remains, in an embellished vessel. I found a fox tooth and had it sealed in a glass vial by a friend. I then built this dagger to house the vial as a reliquary.
“The blade fittings and handle are adorned with 24-karat gold inlay depicting a large fox, its skull and paw prints. The hardware is torch-cut steel plated with gold that is brushed back. Vulpecula, the ‘Little Fox’ constellation, is set into the blade with blue diamonds.
“It was a combination of aesthetic and functional choices that made me choose blackwood for this piece,” he concluded. “The wood machines and carves well, so for this handle it was the ideal choice. The blackwood’s depth serves as a rich contrast to the bright gold used in small inlays to represent a starry sky and the fox prints as well.”
Tuominen built his Protector, or Suojaleijee, dagger with a 5-inch welded damascus blade of 1080 and 80CrV2 carbon and 15N20 nickel-alloy steels, a guard of Nicorros (a copper/nickel alloy), African blackwood handle, and a handmade leather sheath with stainless clip. The blade is 7 inches and overall length is 12 inches. “It’s a custom order for an American collector,” he noted. “I used African blackwood because it’s black and more stable than other black-colored woods.”
SOURCES
While African blackwood remains protected, it can be found through various sources. However, Abel has a warning.
“I stocked up at a Rockler store a few years ago,” he remarked. “I’m not looking forward to finding another supplier. I believe the demand is outpacing the supply, and as conservation efforts increase, as they should, so will the price.”
Kelly Vermeer Vella em- ploys African blackwood and sterling silver for the handle of her dagger. The blade is a damascus of 1075 spring and 15N20 nickel-alloy steel.
Hall searches eBay for African blackwood and makes his selection based on what is available. Pricing, he says, runs $20 to $30 for a handle block or set of scales. While Pekka often sources his African blackwood from European knife shows, he also checks the internet for block-size pieces. Meers has had success with retail suppliers and finds a broad range of dimensions.
The custom knifemaker and the consumer alike have taken a new interest in African blackwood, and that fascination is not likely to fade in the near future.
The Browning Black Label Decoded assisted opening knife sits somewhere between an EDC and a tactical. (Browning photo)
A Workhorse EDC Knife
Generally speaking I am not a fan of tanto blades. In the case of the Browning Black Label Decoded Assisted Open, however, I like the blade design quite well.
Its squared-off tip made for a perfect cutting edge on rope and rubber tubing, and made my work easier. If I had to cut rope or tubing all day, this would be my knife of choice. The modified tanto blade worked equally well on other materials.
The handle is contoured and reasonably comfortable, though the edges could do with some rounding. The grip is a tad heavy but nothing most folks would notice. The clip was very strong and positioned the tip-down blade for an easy, natural grip.
Testing the Browning Black Label Decoded.
The Verdict
It’s a handy-sized assisted opening knife that does pretty much everything I would need it to do.
Custom knifemakers can use any steels they like. However, some steels continue to see use year after year. Here are a few great examples.
CPM 154
CPM 154 stainless is the blade steel Kurt Swearingen selected for his deep-bellied semi-skinner with a tapered tang and single guard. The handle is amber elk. Overall length: 8.25 inches.
1084 & 15n20
A pattern weld of 1084 and 15n20 comprises the 6 7/8-inch clip-point blade of the 385 Damascus Bowie by Larry Cox. The handle is giraffe bone and the guard is 416 stainless steel.
5160
Tried-and-true 5160 carbon steel is the blade material for Bill Kirkes’ small bowie with a long swedge and oval double guard. The handle is ironwood. Overall length: 12 inches.
W2
W2 tool steel comprises the clip-point blade of Chris Montgomery’s tapered-tang utility hunter. The handle is the Bob Loveless favorite—green Micarta®. Overall length: 8.25 inches.
154CM
A 3.25-inch blade of 154CM stainless—another Bob Loveless staple—anchors James Glisson’s drop-point skinner in mammoth ivory. The scrim is by Kurtz Miller and the engraving by Pierre Le Blanc.
D2
D2 tool steel is the material for the 7-inch hollow-ground blade of Harvey King’s fighter. The handle is stag with a brass double guard and buttcap. The spacer is amber.
440C
Bill Duff no doubt has used 440C stainless scores of times in his many years of knifemaking—and he does so here again on his large dagger with a black and maroon Micarta® handle. Overall length: 12.75 inches.
