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.
The Randall Knife Collectors Club is up and running and wants you to join its ranks today.
The RKCC has been over two years in the making and held its third meeting at the 2014 BLADE Show earlier this month at the Cobb Galleria Centre in Atlanta. “We boast an active membership of over 500 avid Randall Knife Knuts, including 15 percent of that total from our international community,” noted Capt. Chris Stanaback, RKCC founder and authorized dealer of Randall Made Knives. All of the club’s membership recruiting had been done by word of mouth until recently. The club is now running ads in BLADE® to help spread the word, Stanaback added.
The RKCC publishes a club newsletter called “KNIFE NEWS” every four months and also offers authentication and appraisal services of Randall knives. “The club has the blessings of the Randall shop and, if you happen to pay a visit to the shop in Orlando, you can usually pick up our latest issue of KNIFE NEWS,” Stanaback said. Randall Made Knives is owned and operated by Gary Randall, son of BLADE Magazine Cutlery Hall-Of-Fame® member W.D. “Bo” Randall.
The club already has sold its first Randall club knife and “is looking to do nothing but get bigger and better,” Stanaback noted.
The RKCC is the successor to the old Randall Knife Society, which was started by Rhett Stidham. The RKS also had a regular newsletter and sold Randall club knives on an annual basis. Stidham, a long-time knife collector, author and purveyor, passed away a few years ago. With his passing, the RKS was dissolved.
The RKCC’s website address is RKCC-RKCA.com and the e-mail address is [email protected]. Stanaback’s phone number is 352-598-1880.
For the latest knives, knife news, trends and more, keep it honed at blademag.com.
The Randall Knife Collectors Club wants you to join NOW! (image courtesy of Gary Clinton)
Knife Collecting Is Different For Everyone. Some Folks Like To Stick With A Theme And Collect Everything They Can.
It’s all about perspective.
Everyone agrees that knife collecting is one of the greatest enterprises around. However, there are variations on a theme—if the collection even has one. Probably the biggest variation on the common thread of knife collecting is the existence or absence of a theme, a focus on the collection that revolves around a specific aspect such as an individual custom knifemaker, group of makers, handle material, style of knife, period of time—well, you get the idea.
Theme collecting has its followers and its detractors, and gaining insight into these points of view enriches the collecting experience. First, however, there is a single universally accepted piece of advice regarding the knife collecting adventure: collect the knives that you admire, enjoy, and make you feel good!
“When it comes to collecting, and I mean collecting anything, I think the first rule is to collect what you like,” related long-time knife enthusiast and collector Chris Schluter. “At the end of the day, whatever it is you’ve been collecting might not be worth anything except to you. The collection may go down in value, be obsolete, your kids may not care about it, etc., etc. Collect what you like and can afford. Having fun while doing it is a plus, too!”
Collector J.T. Oldham agrees. “My short answer is to collect what you like,” he said. “I’ve been to enough knife shows and have spoken with many collectors, purveyors, and dealers over the years, and that has been a prevailing sentiment. Collect what you like, with a focus on an element that is interesting or unique.”
Embracing Theme Collecting
If Chris Schluter’s collection of Bob Terzuola tactical folders isn’t comprehensive, it’s the next best thing.
Beyond the “like,” there are those collectors who find a theme and enjoy it for decades, buying, selling, trading, and thoroughly embracing a style or feature. Then it’s always possible to change course, switch ideas around, and find another path.
“I started out collecting hunting knives,” recalled collector Chris Nolen. “This was due to my love of hunting. Later, I learned at gun shows as well as from informative magazines like BLADE® that there were many styles, as well as usages of the knife. I was drawn to bowie knives. I had been introduced to a professional maker, Jerry Berry of Natchitoches, Louisiana, and he was making my hunters because I had switched from commercially made to custom. I drew out a large bowie and sent the plan to Jerry. He built the knife and my theme changed from hunters to bowies. So, I must say, I recommend theme collecting.”
Nolen’s experience is compelling because his investment in that course-changing bowie began with the basics: a drawing. Therefore, the full experience of owning the knife involved an added depth. Nonetheless, other collectors are drawn to aspects of theme collecting that center on different attributes.
“While I do not necessarily collect thematically, upon reflection I realized that my wife, Marlene, does,” advised longtime collector Larry Marton. “Just to clarify the state of affairs in our home with regard to knife collecting, we have two collections—‘ours’ and ‘hers.’ Her collection consists of small knives, predominantly folders, that are about 3.5 inches open. This collection has been accumulated over the past 35-plus years. The knives were crafted by some of the finest knifemakers of our time, both living and unfortunately passed. Marlene convinced each one of them to make her a unique knife, even though most had never made a knife that size before and most would never make one of that size again.”
Oldham takes a long look at trends and depends on the assessments of those close to the industry. “Typically, I have always learned of what is trending in the knife community by reading BLADE Magazine. I’m certain most others do as well. Joe Kertzman has been instrumental in keeping collectors tuned into knife trends for years by editing the annual KNIVES publication. I mostly rely on my network of trusted purveyors. They attend most, if not all, knife shows, do the legwork, speak with makers, and have substantially greater buying power than I do. They tend to focus on particular makers, but due to the large volume of knives they come in contact with, might be able to identify a theme before it exists.”
While Oldham doesn’t consider himself positioned to recommend a theme, he readily admits that he enjoys damascus steel and knives that incorporate embellishments in the shapes/look of human skulls.
His acknowledgment of the variety of theme options presents the general collector population’s point of view well. There is no right or wrong answer when it comes to collecting with or without a theme, but an eye for certain aspects or commonalities among knives can enhance the effort to grow a collection.
Meeting Other Knife Collectors
This reproduction of a Daniel Searles bowie by Mark Banfield is representative of the period bowie repros in Chris Nolen’s collection. (image courtesy of Chris Nolen)
Among the best features of theme collecting is the opportunity to build relationships as collectors and custom knifemakers interact with one another.
“Within custom knives, I’ve always gravitated toward tactical folders, so I would say that’s my overall theme,” Schluter explained. “Within that theme, most are from Bob Terzuola, then there are a lot of custom Emersons and at least a dozen knives each from Kirby Lambert and Peter Rassenti, and then numerous knives from Sal Manaro, Mark Roe, Shane Sibert, Chad Nell, and others.
“In any business, if a producer and customer have enough interaction they often become friends, and that may be even more so in the knife hobby. It’s often said that you buy the maker not the knife, and this is absolutely true if you really know the maker. Having the theme I do collecting-wise has certainly produced some lifelong friendships.”
For Larry and Marlene, that premise has held true. “Not only is it exciting to craft a special collection,” Larry commented, “but it is a way to get to know the knifemakers very well and to share the ups and downs of technical and artistic challenges with them. Firm friendships have been molded by this endeavor. Accumulating the collection requires patience, as every knife is made to order. Collecting unique knives that are not today’s momentary trend as an investment is risky, although with patience it can turn into reality.”
According to Nolen, the theme approach applies to whatever the collector’s motivation may be: pure enjoyment, investment, or both. Finding the right balance is a part of the journey, and building a collection that leads to personal satisfaction and lasting value is a powerful combination.
“There are some collectors that look at knife collecting as an investment,” he said, “and I would still recommend choosing a theme and devoting your collection to that theme. Just remember to get the best possible price. One day you may want to sell, and what you thought may have been a good deal may not have been so swell.”
Stick With The Knives You Like
Another example of one of Oldham’s knives with a skull theme is this Brian Tighe folder. “This was a very popular knife and was published in one of Dr. David Darom’s books,” Oldham wrote.
At the same time, beware of the trend that may glow white-hot and then fade quickly. Experience and a good sense of direction help prevent a misstep.
Concentrating on a specific theme will help insulate a collection from a haphazard mishmash of “stuff.” However, a collector may choose to purchase on more of a freestyle basis.
“If one were to follow hot themes exclusively,” Oldham said, “then one’s collection would be all over the place. I feel that it’s best to acknowledge the arrival of the hot themes, and then follow them to see if they become trends. A good example of this is the tactical theme or style. We can all safely attribute that style to Bob Terzuola and Ernest Emerson. As soon as that was considered a thing, makers like Brian Tighe, [the late] Darrell Ralph, and Allen Elishewitz were all over it, and at that point, I enthusiastically embraced it and they have become a major focus of my collection. They have all taken that theme to the next level, again and again, to the point that they’re now what I consider ‘rock star makers’ and have created their own genre, which I call ‘tacti-cool.’”
“I believe collecting bowies is very popular right now due to the Forged in Fire series on the History Channel,” Nolen observed. “This is not always the best path to take due to costs. A custom forged bowie can be very expensive. Collectors must first make sure they can afford the elected theme they choose. Small custom hunters and even fighters will most likely be less expensive. I made sure that I could cover the expense, but I suggest that any theme collector set a ceiling on the funds devoted to their collection.”
While expense is always a consideration and at times a downright barrier to entry in collecting higher-end or theme-related knives, the collectors are forever in charge. They may scale their collection toward the right value range and gradually, perhaps, increase funds devoted to the theme. A word of caution does address a fear factor—the fear of missing out.
“One thing I will say is that if you focus too much on one maker or type of knife you may miss out on others,” Schluter cautioned. “However, if you keep an open mind, go to shows, are active on social media, read BLADE, etc., you will still be exposed to plenty of other work. That said, the big plus, at least for me, of having a significant focus on a few particular makers is that you can really get to know their work and can also get to know them personally.”
Knife collectors, whether or not they are theme enthusiasts, are continually looking for enjoyment and satisfaction. Choosing the collecting path is part of the fun, so remembering the basics of trust, quality craftsmanship, and collecting what you like will always make the love of custom knives worthwhile.
Safety feature, bell and whistle, or what have you, the half stop stimulates lively discussion.
What is a Half Stop?
An old song includes the lyric, “It certainly is exquisite, but what in the dickens is it?”
The slip-joint knife version of the phrase can easily be attributed to the function, or lack thereof, surrounding the half stop, the flattened shaping of the tang that allows the blade to stop in mid deployment.
It’s a safety feature; it relieves pressure on the spring; it’s a mark of fit and finish that the best slip joint makers always include; or, just maybe, it’s like your appendix. It once had a job, but nobody really knows what that job was. It hangs around—and in some cases it has been removed.
What a Half Stop Does
According to Phil Gibbs of A.G. Russell Knives, “In a traditional slip-joint knife a half stop indicates the blade has a square tang instead of a conventional rounded one.” In Detail 2 is a diagram of a tang with a round end; in Detail 3 is one with a square end. (A.G. Russell Knives image)
“In a traditional slip-joint knife, a half stop indicates the blade has a square tang instead of a conventional rounded one,” explained Phil Gibbs, a veteran knife designer who has worked for A.G. Russell Knives for a number of years now.
“There are two reasons for a square tang. One is that a pause to move your fingers out of the way is desired halfway between open and closed. The second is that the knife has a flush end. Most issues of a square tang not working properly can be traced to poor spring/tang design and/or poor execution.”
There are plenty of ideas and opinions out there, and longtime custom knifemaker Gray Taylor admits the purpose of the half stop is something of a mystery to him.
“A half stop is just a low place in the back of the blade, a flat place that stops the blade and takes tension offthe spring,” he observed. “It just protects your spring from breaking, in my opinion, or it could be called a safety feature. Old guys have told me that if you have a whittler pattern, for example, with one blade on either end, you don’t want to open a knife halfway because you double the tension on the spring.”
The Case XX Vault Release Copperhead pattern, new for 2021, features a half stop. The knife is a member of the company’s Black Sycamore family. MSRP: $83.99. (Case image)
The History of the Flat Stop
The history of the half stop is as murky as its real role in the life of the slip joint. For sure, it has been around at least a couple of centuries, dating back at least to the knifemakers of old Sheffield—possibly much earlier.
Museum curator, researcher, and knife historian Pete Cohan points to traditional knives and modern multi-blades that have square backs; therefore, a half stop would have no purpose on them.
For Cohan, the “time factor” is relative, depending on how far back one would have to go.
“The amazing thing is that over a long period of time that feature was not present, and that is a fact,” he commented. “I was puzzled by this a long time ago and couldn’t find any indication of a patent associated with the half stop. At one point, I assumed it was a safety feature, and that was about the only thing I could come up with as to intent. I know similar things have been used in lock making, and that makes sense because you are pushing something to allow it to drop into a location to lock or unlock.”
Gibbs isn’t sure anybody knows the real origin of the half stop, but the earliest example he has seen through the years is on an 1800s barlow with a flush end made in Sheffield.
Veteran multi-blade slipjoint maker Bill Ruple has also seen the Sheffield connection but doesn’t know much more than that regarding the half stop’s history. Nonetheless, he does find function in its continuing existence.
“I have heard the half stop called a ‘safety catch,’ and my theory is that it was invented to be easier on the spring of a multi-blade knife,” Ruple offered. “The blade should literally jump into the half-open position and have no play or wiggle. If you can feel any wiggle or movement, it’s not right.”
At work here in his shop, Gray Taylor admits the purpose of the half stop is something of a mystery to him. “A half stop is just a low place in the back of the blade, a at place that stops the blade and takes tension of the spring,” he observed. “It just protects your spring from breaking, in my opinion, or it could be called a safety feature.” (Christy Harris image)
Half Stop Debate
For years, Ruple and A.G. Russell engaged in a congenial debate regarding the half stop. They never resolved their difference of opinion, and it remains one of Bill’s fondest memories of his relationship with the BLADE Magazine Cutlery Hall-Of-Fame® member.
“I personally use half stops on all my slip joint knives, unless the customer wants a full tang, and I have been doing it for 33 years,” Ruple commented. “The late Mr. Russell, however, would disagree with me on this one. A.G. was a good friend of mine for many years, and every time I saw him, he would give me a hard time about using half stops. He hated them.”
Gibbs acknowledges Russell’s disdain for the half stop and says it lies in a bad experience that occurred years ago.
“A.G. was not a fan of square-end tangs due to being severely cut by an extremely poorly designed and executed custom-made trapper,” Phil said. “He was cut because the maker apparently had no idea how to correctly design a pocketknife spring and tang to work well together. If your traditional knife works like a mousetrap, you are doing it wrong!”
Ruple is solid in his support for the half stop, relating, “Half stops are easier on springs, especially on rocker springs, which are springs with a blade on both ends. With the half stop, the spring is approximately the same, whether the blade is open, half open, or closed. With a full tang the spring has more pressure in the half-open position.”
Cohan concludes that the half stop has reached functional obsolescence. “Well, take a scout knife with four blades. Invariably, it has a half stop. Why? I can’t think of any reason they still make knives with half stops. Maybe it is more habit than requirement. My point is that the only answer I have ever come up with is the safety feature, and I’ve certainly never seen a patent on it.”
Some observers still assert that the half stop was a necessary revision to the tang, going so far as to state that it prevents the user from needing a pair of pliers to open a knife. Its absence, they say, would cause the spring to flex the entire distance of the end of the tang, and it functions to prevent the total failure of the spring, relieving pressure with the blade open that would otherwise fatigue and eventually compromise the spring’s integrity.
Gibbs scoffs and strongly disagrees.
“Converting to a square end tang in no way significantly reduces spring deflection,” he remarked. “It is the torque points of the tang that define the opening and closing force applied to the blade. A.G.’s tang designs employ a tangential radius to produce the round end of the tang joining the two torque points and resulting in zero increased spring force.
“Consequently,” Phil continued, “the round end tang and the square end tang would have identical opening and closing forces. Actually, with a square end tang the spring is flexed twice for each opening or closing, so I would surmise it increases stress to the spring. The only time there is any difference to the spring pressure on a square end tang compared to a round end tang is in the half-open position.”
Gray Taylor’s small sleeveboard lobster pattern sports six blades and/or tools: two spear-point pen blades, manicure blade, buttonhook, corkscrew, and pick. The sole-authorship piece is 2 3/16 inches closed. (Francesco Pachi image from the soon-to-be-released book Greatest Living Knifemakers by BLADE® editor Steve Shackleford https://www.gundigeststore.com/product/greatest-knifemakers/)
Making the Half Stop
Through the years, the inclusion of the half stop has probably remained fairly constant, and those who pay attention to it can’t say for sure that its use is waxing or waning. Gibbs recalls that the square end tang was traditionally found on barlows and Remington trappers, and some custom knifemakers continue to incorporate it today.
While the pros may differ in the usefulness of the half stop, they can agree that making a slip joint that includes a half stop adds little or no difficulty or cost to the construction process.
“I wouldn’t say it’s a lot harder,” Taylor commented. “You’ve got to make sure the half stop is positioned that when your blade stops at the half stop, it wants to be perpendicular to your knife. If your grind is off five degrees, the blade won’t sit straight. You’ve got to make it perpendicular to the back of the knife to look right. On the other hand, if you don’t have a half stop and cut a cam on the back of the blade, you’ve got to make sure the cam allows just the right tension. It takes practice. Throw a few blades away and you’ll catch on.”
Gibbs, who actually hails from Sheffield, England, considers the flush end knife more difficult to make than one with a square end tang, so the price might be somewhat higher due to the maker’s skill set. Throughout his career, he has had ample opportunities to assess thousands of knife designs.
“In my previous position as cutlery engineer at [the old] Camillus Cutlery Company, I designed several knives with square end tangs,” he related. “I considered it a required feature on some of the Remington Bullet knife reproductions we produced. We also made the Camillus Double Lock Back Trapper with square end tangs. It was not any harder to make at all.”
Gray Taylor said old-timers have told him that if you have a whittler pattern, for example, with one blade on either end, you don’t want to open the knife halfway because you double the tension on the spring. This I*XL George Wostenholm antique in ivory is an example of a three-blade whittler. (Pete Cohan image)
The Future of the Half Stop
Relevant or passé, here or gone, the half stop is a pocketknife feature that is likely to generate some lively discourse. While it may or may not add anything to the performance or durability of a knife, it’s healthy for the industry simply due to the fact that it gets people talking.
The May-June 1975 American Blade covered the CIA-forerunner’s knives.
Editor’s Note: BLADE Magazine is celebrating more than 50 years of bringing the knife community sharp coverage of the knife world at large. Given a more comprehensive picture of where the industry comes from—thus, where it’s going—we’re running a series of vignettes on important articles marking milestones in the knife design, knife making and knifemakers from 50 years ago.
Adrian Van Dyk was the military knife guru for The American Blade at the dawn of the magazine’s era, and OSS knives were one of his specialties.
Five World War II-era OSS gravity knives, from left: a trial piece with George Ibberson blade markings; one with a variation of an Ibberson marking; unmarked issue specimen; German-issue take-down model; and a German-issue non-take-down model.
In “Knives of the OSS” in the May-June 1975 issue, he wrote a comprehensive story on a number of OSS knives, including, among others, the smatchet, stiletto, escape knife and gravity knives. The smatchet is of particular interest here because APOC/Cas Iberia offers a new iteration that it will debut at the BLADE Show (see our 2025 BLADE Show Knife Debuts post).
According to Van Dyk, the smatchet was designed for heavy chopping and brush clearing.
World War II OSS knives, from top: an OSS stiletto with a pancake-flapper sheath and a standard-issue OSS escape knife, completely blued and unmarked.
“The name apparently derived from its intended use since it could serve both as a machete and a hatchet,” he wrote. “The knife was probably a design derivation of the Welsh machine gunner’s sidebar,” illustrated in A Primer of Military Knives by Gordon Hughes and Barry Jenkins. “It was also designed as a fighting weapon and techniques for using it in combat are described in the book Get Tough by William Fairbairn,” one of the designers of the famed Fairbairn-Sykes commando knife.
Van Dyke added that OSS-issued versions of the smatchet were manufactured by Case and were completely unmarked. Some variations have British military proof marks and are thought to have been issued to British commandos.
As long as we have the Whittling Chip, then we have nothing to worry about in the knife industry. “What is the Whittling Chip?” you non-Boy-Scout, “no Eagle Scout Badge here”-type folks might ask? It’s a badge earned in Cub Scouts at the “Bear” level, and/or as a Webelos scout.
Bear scouts and Webelos scouts may earn the privilege of carrying a pocketknife to Cub Scout functions. The objective of this award is to make Scouts aware that:
‘A Cub Scout knife is an important tool. You can do many things with its blades. The cutting blade is the one you will use most of the time. With it you can make shavings and chips and carve all kinds of things.
You must be very careful when you whittle or carve. Take good care of your knife. Always remember that a knife is a tool, not a toy. Use it with care so that you don’t hurt yourself or ruin what you are carving.’
The requirements to earn the Whittling Chip card and patch are:
Complete Bear Achievement 19, Shavings and Chips
Demonstrate knowledge and skill in the use of a pocketknife.
Close the blade with the palm of your hand.
Never use a knife on something that will dull or break it.
Be careful that you do not cut yourself or any person nearby.
Never use a knife to strip the bark from a tree.
Do not carve your initials into anything that does not belong to you.
Take the Pocketknife Pledge:
I will treat my pocketknife with the respect due a useful tool.
I will always close my pocketknife and put it away when not in use.
I will not use my pocketknife when it might injure someone near me.
I promise never to throw my pocketknife for any reason.
I will use my pocketknife in a safe manner at all times.
Yes, as long as we have the Whittling Chip, all is well in the world of knives!
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.
