Knife Collecting

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.

Custom Cleavers That Have Culinary Chops

Four custom makers push the boundaries of the tried-and-true cleaver.

An inclination toward the kitchen and a desire to design and deliver cutlery used on a regular basis has spurred a number of custom knifemakers to try their skill with the cleaver. It’s a staple in most kitchens and its uses are as varied as the food prepared there.

Robert Wayman of Middleburgh, New York, sees his cleavers as complementing years of food preparation. “I’ve done a lot of my own food processing, and I spent several years in commercial kitchens when I was younger,” he commented. “So, I’ve always had an affinity for culinary knives and especially cleavers. The cleaver is such an iconic blade. I love to make everything from heavy-duty butcher cleavers to medium-duty kitchen cleavers, Chinese cleavers and lighter-duty veggie cleavers for the kitchen.”

Robert’s featured cleaver is 14 inches in overall length with an 8-inch blade of pattern damascus go-mai five-layer steel. The core is a 100-layer random pattern damascus made of 1084 and 15N20 high-carbon steel and a layer of nickel and matching damascus cladding. The handle includes a damascus collar, stainless steel and G-10 spacers, crosscut carbon fiber, green malachite and blue coral accents, stabilized amboyna burl and a damascus butt cap with stainless mounting pins inset with blue coral framed with green malachite.

“I packed a lot into that one,” Wayman smiled. “As a maker, I’m all about sole authorship. I make all of my own high-carbon damascus steel in-house, and a cleaver provides a great opportunity to showcase that steel. One of my favorite things to forge is a large cleaver with an integral bolster.”

Wayman sees large blades, such as those associated with cleavers, as inherently challenging, while making a task-specific blade, such as a cleaver, adds another layer of complexity. Although they are labor-intensive and involve a lot of time in the shop, performance remains the key.

 “Overall weight needs to be taken into consideration, as well as how that weight is distributed for the style cleaver you are making,” Robert advised. “Ergonomics is an important consideration for any knife or tool, but especially for kitchen cutlery. Whether it’s in a professional or home kitchen, you’re making a handle that a chef or cook could use for hours of food prep on any given day. So, it must be comfortable.”

Edgy Ebony

Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)
Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)

David Jacobson’s integral 13-inch cleaver with ebony handle scales sports an 8¼-inch mosaic damascus blade of 1085 and 15N20 steels and a gold inlay signature—his first such accent. He used brass bolt pins to finish the ebony scale attachment.

“I love cooking and making cool chef’s knives and kitchen tools,” Jacobson related from his Felton, California, shop. “Edge geometry for chopping and balance are challenges, and fullers are nice when slicing vegetables for food release. Cleavers are not only for the kitchen. They are great for large fish processing at the dock, chopping through bone and restaurant back-alley butchering. The wide blade shows off the many designs in the damascus steel, and I chose a traditional profile for this particular cleaver. I’ve always liked a black handle with big brass pins—old school.”

Cutting Mustard

Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)
Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)

The pairing in Bill Tyc’s featured ensemble is stunning in its presentation. “The cleaver as well as the chef’s knife are made of 52100 high carbon steel from the NJ Steel Baron,” he remarked. “The handles are stabilized spalted tamarind from Wood Dynamics fastened with brass Corby bolts. The pattern on the steel is a mustard patina done with a ruler edge, hence the name “Lines of Insanity” pattern. The cleaver is 11½ inches overall with a 6¼-inch blade. It’s 3 inches tall and ¾ inches at the heel. I felt the spalted lines of the tamarind wood would look perfect with the mustard patina.”

Tyc, who resides in Waterbury, Connecticut, remembers making kitchen knives that did something no other creations had generated. He got immediate feedback from users.

“In fact, the first ‘kitchen’ knife I sold was a cleaver at the Mystic Knife Show in Connecticut,” Bill remembered. “A gentleman circled the floor three times, every time touching a cleaver I had on the table. Last pass, he picks it up and just says, ‘I’ll take it.’ My wife and I look at each other with a thumbs up, and off he goes. Well, the following year, the gentleman comes into the show, right up to my table, and says, ‘Last year I bought a cleaver from you.’ The wife and I again look at each other because we most certainly remembered. He says, ‘I have so much fun using that cleaver every day!’ I reached across the table, shook his hand and said, ‘I’ve been waiting 20 years to hear that! I could pack up and go home, I feel so good.’”

According to Tyc, many custom knifemakers shy away from cleavers because they require a lot of work. At just about any knife show, only a relative few are seen for sale. But he adds cleavers’ utility far exceeds their supposed kitchen niche, pointing out they are handy for camping, survival exercise, yard work and bushcraft as well.

“The most important things are balance and weight,” Bill observed. “A knife used as often as a kitchen knife or cleaver has to feel good in the hand, not just initially, but long term. You may find yourself using your kitchen knives for many hours through the week. You want it to be comfortable, not a labor.”

Veggies Beware

One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina'd copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)
One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina’d copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)

In 2016, Dan Tompkins began making knives, and three years later, he started Evolution Cutlery in Highland, New York. His kitchen knife work began simply because he wanted to make cutlery used on a daily basis, and his cleaver immediately attracts attention.

“The big square profile is a great canvas to show forging skills, especially if using mosaic damascus. It allows a lot of room to see the details in the patterning,” said Dan. The subject steel is Baker Forge copper mai with a blacked-out finish and layers of patina’d copper in the nakiri, or veggie cleaver, design. The handle is Tompkins’ hybrid octagonal/western style made from amboyna burl, heirloom fit to a copper and G-10 bolster. The cleaver blade measures 8½ inches, and the overall length is 13 inches.

“One challenge in making cleavers is getting the edge geometry perfect for the intended purpose,” explained Dan. “There are many different types of cleavers, so the proper geometry is an important consideration. Heavy-duty blades require a heavy convex edge, while veggie cleavers are best with a laser-thin edge. When it comes to kitchen knife ergonomics, not only do you have to have a good feel in the handle’s shape and contour, but you also have to have proper balance to make the knife comfortable to use all day. While cleavers will almost always be slightly blade heavy in balance, they should still be balanced not far in front of the handle … Balance can make a light knife feel heavy or a heavy knife feel light. In my opinion, even a heavy knife with proper balance is far more comfortable to use than a light knife with improper balance.”

 Tompkins sees the cleaver in action in varied settings, not just the kitchen. Camp chores like chopping wood or preparing food outdoors can be handled easily with a cleaver made for such adventures, and he makes the cleaver to fit the anticipated tasks.

Versatility is readily apparent in these custom cleavers, and their functionality is in lockstep with good looks driven by their makers’ creativity.

Check Out More Cool Customs:

Factory Friday: Creek Stewart To Release New Tanto

Survival instructor and host of The Weather Channel’s new series “SOS, How To Survive,” Creek Stewart is releasing a new addition to his line of Whiskey Knives. The 7.75-inch-bladed tanto in A36 carbon steel is designed by Hank Gevedon of Reptile Toolworks with continual input from Creek.
 

Outdoor survival instructor Creek Stewart will be adding a tanto with a ghost guard to his family of Whiskey Knives.
Creek Stewart of “Fat Guys In The Woods” fame is hosting a new Weather Channel series: SOS, How To Survive. He is also adding The Rising Sun to his line of Whiskey Knives.

Creek runs Willow Haven Outdoor in Anderson, Indiana, where he teaches survival skills, provides some survival supplies and especially enjoys partnering with American artisans to offer items of high quality craftsmanship at affordable prices. His Apocabox is a subscription-based collection of survival items that arrives at your door every two months. He also offers a monthly survival skill program. Creek was the star of “Fat Men In the Woods,” and is again working with The Weather Channel on the new series. He is the author of an young adult survivalist romance titled “Rugosa.” A follow-up to that is also in the works.

 
In “SOS, How To Survive,” Creek and other survival experts analyze a series of real-life survival situations. They discuss what happened, what was done correctly by the survivors or what went wrong. The show started Sunday, August 20 and is ongoing. Throughout Creek offers tips that can be used in survival situations.
 

Creek Stewart Hosts The Weather Channel’s New SOS Series

 

Survival scenarios are no joke!

Posted by The Weather Channel Originals on Thursday, August 10, 2017

 

Small-Batch Production Of The Rising Sun Begins

Meanwhile back in Mount Vernon, Kentucky, Hank and his crew are gearing up to roll small batches of The Rising Sun into production by early 2018. Like all Whiskey Knives, The Rising Sun marries the early American frontier spirit and looks with the precision of Asia’s strong cutlery tradition. All of the knives are asymmetrically ground (so remember to only sharpen one side and just strop the other). The A36 carbon steel allows for a hard outer edge that is sharp and holds an edge with a tough inner core that is flexible and stands up to the rigors of hard outdoor use.
 

Creek Stewart helps design his line-up of Whiskey Knives, including the new Rising Sun.
The Rising Sun from Whiskey Knives has a “ghost” guard that rides up the sheath, creating a striking visual when carried.

The handles are made from upcycled white oak whiskey barrel staves, which have already gone through a processing and aging. Fitting rivets are aluminum, and Whiskey Knives come with a 9-ounce belly leather sheath, stapled and dipped in paraffin wax. The Rising Sun’s sheath slides up through the knife’s ghost guard for an attractive-looking carry. MSRP: $189.

 

Contact Creek Stewart, Willow Haven Outdoor, 2867 N. 200 E., Anderson, IN 46012, www.creekstewart.com/whiskey-knives, on Facebook at Creek Stewart and on Instagram at @creekstewart.

A Digital Subscription To BLADE Is The Answer

Save $4 off the print price of a annual subscription to BLADE Magazine with a digital subscription.
You can read your digital issues of BLADE Magazine anywhere you have your phone, tablet or computer, and there’s no need to find storage for all your old issues.

If piling-up issues of magazines seems like a waste to you… If you feel like you don’t have time to read a magazine… If you like the stories we offer in BLADE, but want a more economical option, then a digital subscription is the answer. An annual subscription to BLADE is $17.98, $4 off the print price.

 

A Hug for a Knife? An Unorthodox Way to Start Collecting Miniature Knives

An Unorthodox Way To Start Collecting Knives

Knives come in all types and sizes. The knives in Brittany Gambee’s collection, for instance, are miniatures, all of which, with the exception of one, are made by ABS journeyman smith Dale Huckabee. And the genesis for them all started with a hug—or the lack thereof.

“Give Me A Hug For A Knife”

It started almost two decades ago when Brittany was 6. She and her mom, Dianna, were visiting their first Batson’s Bladesmithing Symposium, a three-day celebration of bladesmithing seminars and knives at the Tannehill Ironworks and park in McCalla, Alabama. Then a fledgling bladesmith, Huckabee was displaying his knives at his second or third Batson event, when up walked Brittany.

“This little girl about 2 or 3 feet high came up and said she’d give me a hug for a knife,” Dale recalled. Huckabee was feeling pretty chipper back then because he had just won a scholarship to the Bill Moran School of Bladesmithing.

Collecting custom knives
Brittany holds the knife at 6 (left) and wears it at 16 (right). In the background of the latter image is Brittany’s mom, Dianna.

“I had this miniature knife and sheath and reached over and hung it around her neck and said, ‘Where’s my hug?’—and she ran,” he grinned.

Dianna remembers the incident almost like it was yesterday.

“Dale told me when he gave the knife to her that it was sharp and to be careful, but he wanted her to have it,” she said, adding that Brittany wore the knife and neck sheath for many years. “Well, in our silliness we didn’t get his name, we just took the knife and sheath and figured ‘no big deal.’”

The DH Mystery

Fast-forward 10 years to when Brittany was 16. “The dog chewed the edge of the sheath and Brittany was very upset and wanted to replace it,” Dianna remembered. “Well, the knife had a ‘DH’ on it, but we didn’t know who DH was.”

Enter “Uncle Bill.”

“We’d been coming to Batson’s every year and there was this wonderful man who used to come here, ‘Uncle Bill’ Richardson—he’s passed away now—and he told us, ‘You bring the knife to the symposium and have Brittany wear it and somebody will recognize you.’”

Richardson—who Dale said didn’t make knives but was “a heck of a blacksmith”—was at least half right. Dale recognized Dianna but he didn’t recognize Brittany because at 16 she was 10 years older than the young lady he originally had met.

“This lady and this girl walk up and the lady said you don’t recognize her [Brittany], do you?’” Dale recalled. “I said no but I recognize the knife.”

Collecting Miniature Knives

Mini knife collecting
Gambee’s collection includes 12 miniatures. The neck knife and sheath are at lower left.

The Gambees have been coming to Batson’s Symposium—including this year’s rendition April 7-9—ever since and each year Brittany, now 25, buys a Huckabee miniature knife. This year’s addition: a miniature chef’s knife. The only piece in her collection that Dale did not make is one miniature damascus tomahawk by ABS master smith Ken Durham.

“Ken made the hawk for me because Dale always makes knives,” Brittany noted. “He saw Dale’s knives and said he could make a small hawk for me, and then Dale saw Ken’s hawk and said he could make a small one of those and made one for me, too.”

A Lasting Friendship

Who collects knives
Dale Huckabee, Brittany and her collection at the 2019 Batson’s Bladesmithing Symposium.

The lasting relationship between Dale and the Gambees is something all concerned seem to relish.

“It’s been a good journey. She’s grown up with me now,” Huckabee reflected. “When I get to the BLADE Show I see her over there some and she’s like family. I try to make something different for her every year. Last year I made the miniature damascus tomahawk, but I have to keep my head working to try to make something new and different each year. I don’t know what it will be next year. I’ll have to try and come up with something new.”

Oh, and in case you’re wondering, Dale replaced the sheath for Brittany’s knife, too.


2019 Portland Knife Shows

EX-03: More Than Just Another Black Handle Tactical

Sometimes it’s easy to denigrate the many black-handle tactical folders on the market, but Hogue Knives’ approach to the grip material for its EX-03 sheds new light on black.

The handle material for the EX-03 is a polymer known as Polyphenylene Sulfide. The trade name is PPS.

A polymer known as PPS is the handle material for the Hogue4 EX-03. (Hogue photo)
Hogue uses a polymer known as PPS for its EX-03 folder. (Hogue photo)

“This material was selected for its high-tensile strength—29,000 psi—along with many other strength categories which are superior to a more commonly used reinforced nylon such as Zytel®,” noted Jim Bruhns, president of Hogue. “PPS is also much more thermally resistant than nylon, which is more of a big deal that you would expect.

“In most applications reinforced nylon, also known as glass-filled nylon, works very well through a wide range of temperature. We have seen occasion where polymer products fail as a result of extreme temperature in some obvious places, such as the trunk of a car where extreme highs and lows can occur. Again, PPS wins in this category with a much higher deflection temperature than nylon.”

The internal components that make the EX-03’s mechanism are 17-4 stainless steel. The real trick, Bruhns stressed, was getting such a robust assembly staged into an injection-mold tool in a way that the blade could be added and adjusted as part of a final assembly after molding.

“This was something that was met with quite a bit of skepticism, as the problem is quite challenging,” Bruhns continued. “This really goes to the root competency of what we do here at Hogue.”

Bruhns was able to develop the needed tooling for the task and the results speak for themselves.

“We now have a single-piece polymer frame folder with all of the best-known materials available in a rock-solid assembly,” he stated. “This knife is the best bang for your buck available today.”

For more on the Hogue EX-03, see the May BLADE®, on newsstands Feb. 25.

Guilford Art Center Holds Juried Knife Exhibit

Calling all bladesmiths and knifemakers: the Guilford Art Center in Guildford, Connecticut, announces “Contemporary Knife Smithing: A Juried and Invitational Exhibition,” and is calling for submissions.

Bladesmithing is a thousands-year-old craft practiced in diverse cultures across the world. It has survived as an art form despite modern industrialization, with artisans dedicated to preserving and expanding traditional techniques. This exhibit will explore and highlight the artistry of the contemporary hand-crafted knife, as an object with both functional and aesthetic value.

Exhibit Dates: July 10-August 18, 2013 

Juror: An ABS journeyman smith, Mace Vitale practices blacksmithing and is a copper smith. He has a background in architectural pre-cast concrete, is owner of Laurel Rock Forge in Guilford, and is an instructor at the Guilford Art Center.Vitale_120608

Eligibility: This exhibition is open to knives made by U.S. residents.

Entries: Each artist may submit up to three (3) works. Each work may be represented by two separate images: one full view and one detail view. Work must be submitted in high-resolution digital format. For each entry please note dimensions of knife, and a maker’s list price (retail price), or not-for-sale/insurance value. Email entries to: [email protected].

Entry Fee for Applicants: $20. Includes up to three (3) submissions. Make check payable to Guilford Art Center and mail to 411 Church St., Guilford, CT 06437. Or call the Center with credit card number 203-453-5947. Payment must be received for entries to be eligible.

Entry Deadline: June 10, 2013. Digital images and entry fee must be received by this date.

Conditions:  All accepted works must arrive with a display case that closes for safety purposes during exhibition. All entries must be original and must be completed within the last 3 years. The Center reserves the right to reject entries that do not meet these requirements or is deemed unstable. Shipped work that differs from submitted images will not be accepted. Work damaged in shipping will regretfully not be presented. All accepted work must have proper identification. No accepted work may be picked up before the closing of the exhibition.  Work may be available for sale or must be identified as NFS. The retail price or insurance value provided on the entry form will be used; no changes may be made after the work is shipped.

Shipping: Shipping costs are the responsibility of the artist. A check for return shipping, including the cost of insurance, must accompany delivered work, payable to Guilford Art Center. Work damaged in shipping will not be presented. Detailed packing/handling instructions must accompany all works.

Hand Delivery: Please call the Center to make an appointment for hand delivery/pickup at 203-453-5947, Ext. 12, or email [email protected].

Receiving Deadline: All work must be received no later than these dates.

Sales/Insurance: A 40% commission on all sales will be retained by the Center. Artists must indicate sale price and insurance value or, if NFS, just insurance value. Submission of work to this exhibit is done so at the artist’s risk and implies an agreement on the part of the artist to all the conditions of this Call for Submission. GAC will not be responsible for loss or damage to work in transit, however, work will be insured while in the Guilford Art Center facility.

Publicity: Guilford Art Center reserves the right to photograph entries for the purposes of documentation, education and publicity. Accepted artists are encouraged to send to the Center a resume, artist statement, brochures, and additional photographic materials of the accepted work for publicity purposes.

 

Show Schedule:

Application due: June 10, 2013    

Artist Notification: June 14, 2013   

Receiving: June 24-28, 2013  (10am-4pm)  (Shipped/by appointment) 

Opening reception: July 10, 2013 (5-7pm) 

Closing:  August 18, 2013   

 Deinstallation: August 19-23, 2013 (10am-4pm) (Shipped/by appointment) 

For more information please contact Guilford Art Center at 203-453-5947, or visit www.guilfordartcenter.org.

Antique Switchblades: World War II And Beyond

Harking back to American military glory and post-war prosperity, antique switchblades from the 1940s and 1950 have enduring appeal.

From its first patent in 1884, the switchblade was an important addition to most early U.S. cutlery companies.

According to Mark Erickson, author of Antique American Switchblades, between 35-to-40 companies made and/or sold switchblades, including almost all of whose names long-time collectors recognize: Aerial, Camillus, Case, Challenge, Colonial, George Schrade, KA-BAR, L.L. Bean, Novel Shapleigh Hardware, Queen, Remington, Schrade Cutlery Co., Utica, Wade and Butcher, and Shapleigh Hardware, to list a few.

 These two switchblades with the Presto stamping by George Schrade Knife Co., are among those that played an important part in the success of American paratroopers during World War II. On the facing page, the one at left has “jigged iron” scales and the one at right has jigged bone.
These two switchblades with the Presto stamping by George Schrade Knife Co., are among those that played an important part in the success of American paratroopers during World War II.

Because of the collectibility of the named companies and the significant variety of styles, sizes and handle materials associated with them, switchblades have become a serious endeavor for many collectors of antique knives.

Invention Of The Switchblade

As a serious cutlery collector, my downfall has been fingernails that bend backward with even the smoothest opening blades. The switchblade innovators had fingernails in mind when they produced a knife that could be opened without using a nail. In fact, some of the best switchblades are found in women’s old sewing baskets.

In fact, early switchblade ads tout the folder’s ability to be used by people with weak fingernails. “These knives will be a wonder for those who have difficulty opening a traditional knife” stated one such ad.

Celluloid was a very popular handle material on antique switchblades. Celluloid types, from top: a George Schrade in imitation tortoise, another George Schrade model in candy stripe, and one from Flylock Knife Co., in blue, pink and black swirl.
Celluloid was a very popular handle material on antique switchblades. Celluloid types, from top: a George Schrade in imitation tortoise, another George Schrade model in candy stripe, and one from Flylock Knife Co., in blue, pink and black swirl.

For many other occupations, the switchblade and its ability to be opened with one hand has proven immensely important. Mechanics, fishermen, ranchers, soldiers, veterinarians and even Boy Scouts were frequent users of the pocketknives. With a wiggling fish in one hand, it is easy to see how a switchblade could be a valuable asset to most fishermen when cutting a line.

Moreover, most switchblades have a lock/safety that keeps the blade from opening accidentally and the open blade from closing on the hand. An early Flylock Knife Co. ad touted, “The ideal knife for all outdoors and sports use. One hand only required to open or close, leaving the other hand free to grip a rod or gun.”

World War II Switchblades

World War II brought with it the necessity of supporting soldiers who parachuted behind enemy lines. Switchblades procured for the U.S. military were designed to cut the parachute suspension lines that became entangled during landing. The knives were carried in what has been described as “neck pockets’ in jump uniforms.

Military switchblades designated “MC1” included models in orange handles for heightened visibility. They were made by Schrade until 1960, when Camillus took over the contract. The knives have a master blade opened by a push button and a manual shroud cutter.
Military switchblades designated “MC1” included models in orange handles for heightened visibility. They were made by Schrade until 1960, when Camillus took over the contract. The knives have a master blade opened by a push button and a manual shroud cutter.

There are continuing discussions about the knives specifically made for and used by the U.S. military during the war. The discussions center around whether switchblades issued to troops all had jigged bone handles or jigged metal sides. Another discussion is whether all switchblades used by paratroopers had a bail—known in the military as a “lanyard staple”—or whether knives without bails also were used.

Units that used the knives included paratroopers in the 82nd Airborne and 101st Airborne Divisions, which included the 505th, 507th and 508th parachute infantry regiments. The 505th Infantry Regiment website shows switchblades made by Schrade Cutlery Co. stamped “Presto” with jigged bone handles and metal handles made to look like jigged bone painted black. Knives both with and without bails are included in the photographs. Switchblades made for World War II paratroopers also include those stamped Schrade-Walden and Schrade Cut. Co.

The book, 4 Stars of Valor: The History of the 505th Parachute Infantry, describes the equipment carried by paratroopers. In addition to main and reserve chutes, full uniform and helmet, the paratroopers carried over 70 pounds of equipment, including an M-1 carbine with ammo, Mae West life jacket, switchblade, water-filled canteen, trench knife, fragmentation and smoke grenades, mess kits, three days of K rations, escape map and compass, gas masks, toiletry items, 30 feet of rope, blanket, half a shelter and first-aid kit.

Post-War Military Switchblades

After World War II, several companies made switchblades for military personnel. According to one website, the first such knife was produced for the armed forces by Schrade Cutlery Co., designated as MC-1, an airman’s paratrooper knife, in 1957. Sometimes the knives are referred to as aircrew survival knives.

Three jigged bone switchblades, from top: Schrade Cutlery Co., George Schrade Knife Co. and one of the rarest of antique models, one stamped “Keen Kutter,” a trademark of Shapleigh Hardware. Schrade made the knife.
Three jigged bone switchblades, from top: Schrade Cutlery Co., George Schrade Knife Co. and one of the rarest of antique models, one stamped “Keen Kutter,” a trademark of Shapleigh Hardware. Schrade made the knife.

The first contract was awarded to Schrade Cutlery followed by a second contract to Camillus, and a third to Logan-Smyth. The orange-handle switchblades had two blades: one a master spear pattern opened by depressing the button, and a second blade shaped like a hook to cut parachute suspension lines. In my estimation, the hooked blade is not sharp enough to easily cut parachute lines and must be resharpened.

Civilian Switchblades

The early 1950s brought a renewed interest in cheap, colorful switchblades, with thousands of knives made by Imperial in its Jack-O-Matic Texas toothpick model, and Colonial, which used the Shur-Sharp stamp on its colorful models. The fishtail jackknives and the Texas toothpick styles were by far the favorite examples produced by the two companies.

The George Schrade Knife Co. continued to produce popular switchblades with celluloid handles stamped Presto. The knives were made with a single blade, double blades (the latter with a push button for each blade) and even a letter opener with a push button in one end.

Celluloid Handles On Antique Switchblades: Why?

The handle material for most of the inexpensive switchblades was celluloid. Thin sheets of the versatile plastic-like substance were molded around the knife’s metal sides. The most popular celluloid style was candy stripe. The knives also can be found in a wide variety of swirled celluloid handles in a myriad of different color combos, some with such recognizable celluloids as cracked ice and imitation tortoise.

Because the knives were inexpensively priced, they were extremely popular with boys in the 1950s. Because of the knives’ widespread use, some advertisers saw an opportunity to emboss various ads on them, giving them away as a novel company promotion gimmick.

Allure Of Antique Switchblades

Because of their connection with the heroic actions of airborne troops during World War II, antique switchblades have continued to be a popular cutlery collecting niche. Moreover, since almost three dozen companies, each producing a vast array of sizes and handle materials, made the knives, the collecting field is wide open.

Even in the 1950s cheap construction, made more evident by the continuous opening and closing of the blades, the knives remain popular collectibles. No doubt one reason for the popularity is that antique switchblades remind many of the Golden Age of the 1950s and ’60s when kids played outside all day, shot their BB guns, and hit the corner gas station for a cold soda and a candy bar.

Ah, those were the days!

More On Switchblades:

Michael Krein and Tom Burch—er, Make That Michael Burch and Tom Krein

For the record: that is Michael Burch at top and Tom Krein below him. (Krein photo by Mike Searson)

    Two of the most important things about a person are his/her name and likeness. As Blade Magazine Cutlery Hall-Of-Fame© member Bruce Voyles stresses, “I don’t care what they say about me as long as they spell my name right.”

    A person’s likeness is equally—some might even argue more—important than his/her name. All of which came crashing down on me on page 42 of the April BLADE®.

    On that page is the likeness of knifemaker Tom Krein. Only problem is, the caption identifies him as maker Michael Burch. The knife on the page is by Michael and, for some reason I cannot quite fathom, I gave instructions for our graphic designer to insert the likeness of Tom with the knife, thinking it was Michael’s likeness. I know Tom when I see him and I know Michael when I see him. Again, I can’t explain my mistake.

    I could blame it on Mom. I have two sisters, Chris and Juli, and a brother, Pat, and, for as long as I can remember, Mom has often called each of us a smorgasbord combo of all four. “Uh, Chris-Juli-Pat-Steve,” she goes through a checklist of all four names before finally arriving at mine, “tuck your shirt in, stand up straight,” etc. On the other hand, she has never mistaken me/my picture for any of my siblings/their likenesses (though on more than one occasion during my misspent youth she made me wish she had).

    Similarly, at last year’s BLADE Show I saw Gavin Hawk, talented knifemaking son of talented knifemaking father Grant, walking into the show, and for some reason I called him Grant. “That’s Gavin, Steve, Gavin!” he stressed. I sheepishly ducked my head and muttered, “Oops! Sorry.” Of course, I can understand Gavin’s frustration. He no doubt is called Grant from time to time, it being natural for people to associate him with his father, and he is no doubt extremely proud to be the son of such a creative dad. At the same time, Gavin wants to be recognized for his own achievements, and understandably so.

    In case you think I am getting old and forgetful—which, of course, I am—there have been a number of times over the years when I wasn’t so old that I misidentified people in person, too. There was the time at a Guild Show when I stopped at knifemaker Dennis Bradley’s table and carried on a conversation with him for several minutes, calling him Gayle (after knifemaker Gayle Bradley) repeatedly. Finally, when we were through talking, he said, “And oh, by the way, I’m Dennis.” Ugh. I slinked away.

    Another is production knife guru Vince Ford. On more than one occasion I have called him Paul, thinking he was knifemaker Paul Fox. Each time Vince has been gracious enough not to lose his temper, just shaking his head and giving me that funny little look he gives so well.

    On the other hand, some people in the knife industry simply look like others. I always thought in his later years Cutlery Hall-Of-Famer Bob Loveless resembled the older, heavier Peter Lorre. (And no, I never told Bob that. What, do you think I have a death wish or something?) I also think our managing editor, Joe Kertzman, looks like retired Major League Baseball catcher Mike Piazza. Heck, one time Mrs. Debbie Voyles told me I looked like Tom Hanks. Of course, that was a long time and many hair follicles ago. Or maybe it was just that I reminded her of Forrest Gump.

    Anyhow, I caught my mistake with Michael and Tom, though it was a day late and a dollar short—the day after the April BLADE went to the printer. I immediately fired off an e-mail with the subject line, “Man, did I screw up!” to Michael and Tom, as well as Mike Searson, the photographer of Tom’s picture that we used. Both Michael and Tom were equally gracious. “Now that will be funny!” Michael replied via e-mail. “I always wanted to be Tom for a month.” Not to be outdone, Tom e-mailed, “No worries! Michael never looked so good!”

    Thank you, Michael and Tom, for being good sports. And thank you, BLADE readers, for putting up with a well-meaning but often all-too-imperfect editor.

For more on the latest knives, knife legislation, knifemaking instruction, knife trends, knifemakers, what knives to buy and where and much more, subscribe to BLADE® Magazine, the World’s No. 1 Knife Publication. Click on http://www.shopblade.com/blade-magazine-one-year-subscription-us for more information.

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