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.
Lloyd Hale made the singular knife circa 2000 from the neck of a 1960s Fender Jazzmaster.
A self-described child of the ’60s, Larry Hirsch jumped at the chance to buy the DeFender when a collector offered it for sale.
Made by Lloyd Hale a quarter century ago from the neck of a 1960s-era Fender Jazzmaster guitar, the knife did not have a sheath originally, so Hirsch got with Hale earlier this year and brainstormed one in the shape of the main body of the guitar, complete with strap and volume and tone control knobs.
Larry Hirsch rocks his world with the DeFender. (Hirsch image)
“I told Lloyd the knobs had to turn because everyone that sees it, the first thing they will do is turn the knobs,” Hirsch said. Sure enough, when Larry displayed the knife at the 2025 Solvang Show, the first person that saw it turned the knobs.
Oh, left whole a 1960s-era Fender Jazzmaster—just the neck alone—would be worth obscene amounts today, but we won’t go there.
John Horrigan will auction Serial No. 1 on Veteran’s Day.
On June 17, 2005, while conducting military operations against known terrorists, United States Army Master Sergeant Robert M. “Bob” Horrigan was killed in action in Al Qaim, Iraq. In recognition of the 20th anniversary of Bob’s supreme sacrifice for his country, ABS master smith John Horrigan has made a series of 20 special knives in his twin brother’s honor.
Robert started his military career in 1984 with the 3rd 75th Ranger Battalion under the command of Captain Stanley McCrystal, going on to serve as a Ranger instructor in Mountain Phase in Dahlonega, Georgia. Robert was a light weapons sergeant with the 7th Special Forces Group ODA. His last assignment was with 1st Special Forces Group, detachment Delta. MSG Horrigan served 9½ years with the Counter Terrorist Unit. He had three tours to Afghanistan and was killed on his fifth tour in Iraq.
To say Robert was special would be an understatement. He excelled in everything he did. Pete Blaber, a former Delta commander, wrote about Bob in his book, The Mission, The Men and Me. George Hand wrote about Robert in SOFREP, chronicling his exploits in A Better Man Than I and Walking Among Giants. Robert was the fictional character of Bob Harrington in Brad Thor’s books Blow Back and Take Down. Sean Naylor also wrote about Bob in his book, Not a Good Day to Die.
John Horrigan will auction off Serial No. 1 of a special series of 20 knives this coming Veteran’s Day in memory of the 20th anniversary of his twin brother Bob’s death in action in Al Qaim, Iraq. (Jocelyn Frasier image)
Bob was nicknamed the “pack mule.” He would carry the gear of others when they became fatigued. He had a never-quit motto and was there to help his fellow service members through.
President Theodore Roosevelt once said, “… credit in life belongs to the man in the arena whose face is marred with sweat and dust and blood. It belongs to the man who strives valiantly, who knows great enthusiasms, great devotions, and spends himself daring greatly in a worthy cause so that he will know the triumph of high achievement; and whose place shall never be with those cold and timid souls who know neither victory nor defeat.”
Master Sergeant Robert Horrigan was exactly such a man.
Legacy Design
ABS master smith John Horrigan introduced his brother to knifemaking about five years before Robert was killed in action. The original Bob Horrigan Military Fighter is a model Robert designed, built and made famous.. The legacy design rightly named in his honor is 11.25 inches long with a 6.375-inch blade and a linen Micarta® handle.
Robert competed in the Best Ranger Competition in 1987 and finished in second place. John also was a Ranger in the 3rd 75th. He continues to stay connected by awarding the warriors who place second in the Best Ranger Competition with a Bob Horrigan knife in honor of his brother.
In recognition of the 20th anniversary of Robert’s death, John has made 20 commemorative knives with Robert’s touch mark—a bear paw with Horrigan through it. The knives are numbered 1 through 20. Robert designed the knife for the military elite who continue to carry it with service, pride and a brother’s love.
Robert loved where he worked and when someone asked him which unit he was in, he’d tell them “1st SOFT D.” He was all about secrecy of the unit. He’d let them try to figure it out. (Robert had a dry sense of humor). His nickname in the unit was “Puddy,” Elaine’s boyfriend in Seinfeld.
Robert (left) and John Horrigan enjoy the 2004 BLADE Show.
Serial No. 1 of the Bob Horrigan knife will be auctioned off this coming Veteran’s Day, November 11, with the proceeds going toward a great cause.
For more information on the auction and the entire series of 20th anniversary Bob Horrigan knives, visit John Horrigan Instagram page or visit eliteknives.com.
Allen Elishewitz/Les George knife collaborations are four point oh.
If you are into custom tactical knives, chances are very good that you have heard of knifemaking United States Marine Corps veterans Les George and Allen Elishewitz.
The two are at or near the top of the list for anyone wanting a high-quality custom tactical. Both possess an excellent knowledge of tactical design and the ability to execute same gained through their years of making knives—Les has 33 years of experience and Allen has 37. Their talent levels are extremely elevated.
Their time in service to their country walking the walk and talking the talk has helped each to fully understand the strengths and weaknesses of tactical knives. They have collaborated with factory brands such as Kershaw and Zero Tolerance (George), Benchmade, CRKT and Hogue Knives (Elishewitz), and Fox Knives and Pro-Tech (both of them). They also have collaborated with each other on some special custom knives.
One of the more recent collaborative efforts between Allen Elishewitz and Les George is the Cerberus, a flipper folder in CPM 154 stainless blade steel and a titanium frame with insert. Closed length: 5 inches.
Perhaps most importantly, they are really good friends and inspire each other in many ways.
“I knew Allen by reputation and from the internet knife forums,” Les said. “When I moved to Texas, we were not far away [from each other].” It was about 15 years ago that Les first reached out and paid Allen a visit.
“He contacted me after he got out of the USMC. He happened to be in Texas and wanted to swing by my shop,” Allen recalled. “I guess we hit it off OK,” Les undersold the moment with his trademark brand of sarcasm.
In that initial meeting the two not only bonded over their service to their country but also their love of knifemaking, common grounds to forge a solid friendship. Each is outgoing and has a great sense of humor, not to mention an outstanding feel for knife design and ergonomics.
An excellent example of a collaboration between U.S. Marine veterans/knifemakers Allen Elishewitz and Les George is two iterations of the EGA (Elishewitz/George Association) Dagger, their spin on the iconic Fairbairn-Sykes dagger. The blade comes in a choice of CTS XHP stainless steel ($875 MSRP) and Chad Nichols stainless damascus ($1,200).
Allen’s first Military Occupational Specialty, or MOS, was designated O861 for Fire Support Marine, and his second was designated O321 for Reconnaissance Marine. In O861, he called in naval artillery and air support on targets, while in O321 he honed his recon skills in scouting and patrolling, small boat operations, long range communications and reconnaissance.
George’s path was slightly different.
“I started out as a heavy equipment mechanic, then volunteered for embassy guard duty,” he said.
Following embassy duty, he became an EOD (Explosive Ordinance Disposal) technician*.
“You know, making the bad bombs stop,” he quipped.
USMC Sergeant Allen Elishewitz takes a lunch break outside a Marine facility in the early ’90s.
The discipline and fortitude each gained in his respective duties set the stage for them to become solo entrepreneurs as knife designers and knifemakers. It also had a major influence on their approach to tactical knife design.
Their knifemaking styles are highly complementary.
“There are a lot of overlapping skill sets,” George observed.
For instance, Les has CNC experience while Allen has more manual machine know-how.
“Les uses CAD and CNC, I am strictly handmade,” Elishewitz reiterated.
USMC Staff Sergeant Les George holds an artillery shell aloft somewhere in Iraq in the early 2000s.
“We can take a design and I can help scale it up and make more knives, while Allen can add the final touch,” Les noted.
“I see Les’s knives as very practical and utilitarian,” Allen said. “I have the same approach but with a little more emphasis on artistic flair.”
Both makers craft excellent cutting tools that are highly utilitarian. You can see the imagination and style in each of Elishewitz’s pieces. Meanwhile, form follows function with George’s work, where the beauty lies in how he builds his designs.
Long-Distance Teamwork
As with any business relationship, especially long-distance ones, it takes work to maintain along with the help of technology. Les lives in Blue Springs, Mississippi, and Allen in New Braunfels, Texas.
Allen Elishewitz has made and designed award-winning tactical and other hi-tech folding knives since 1988.
“We send designs back and forth through emails and texts,” Elishewitz explained. “Les has 3D printing capabilities for quick prototyping that has been a game changer.”
Making use of technology almost makes it feel like you are working with someone in the same space even though there is a significant physical distance. Despite the distance, these two always find ways to make things work and to collaborate on beautiful edged pieces.
Behind every good man is an even better woman, and it was never truer than with Allen and Les. Both are happily married and their wives wholeheartedly support their husbands’ endeavors in the knife industry.
“Bianca is interested and supportive but not usually super involved,” Les stated of his better half. His passion is knifemaking, hers is abuzz with a passion for beekeeping.
“Lots and lots of bees!” George affirmed.
Les George is heavily influenced by classic military fixed blade designs and modern tactical folders and fixed blades.
Meanwhile, Valerie Elishewitz not only is very supportive of her husband’s career, she plays an active role in it.
“Valerie is a crucial part of my business,” Allen stressed. “She takes care of all the administrative tasks which would eat up a lot of my time if I had to do it.”
Valerie sometimes answers emails, private messages, posts on Allen’s Facebook and Instagram accounts, helps pack and ship knife orders, and even helps her husband staff his table at knife shows. If you have bought a knife from Elishewitz at a knife show, chances are you met Valerie.
Upcoming ventures hold promise.
“Allen is doing several designs with my production company, Defiant7,” George observed.
“I’m really excited about the way those projects are shaping up.” Added Elishewitz, “We are going to do more of the Fairbairn-Sykes custom daggers. We made them a few years back and they were very popular.”
He also hints that he submitted designs to Les for what Elishewitz calls the BK, or Bangkok Special, a compact fixed blade for concealed carry for the Defiant7 line. He also submitted a blade design to accompany the handle of George’s M320 model for Defiant7.
Last but not least, Allen said, “Later this year I am going to send Les a crossbar-lock SOG bowie that is going to be killer!”
Allen and Les designed the Ek Integral Folder for Ketuo, winner of Best Imported Knife in the factory knife judging competition at the 2024 BLADE Show Texas. The knife is based on the Model 2 Ek Commando fixed blade. (SharpByCoop image)
All this in addition to keeping up with orders for their custom knives, too. Not too shabby for a couple of Marine veterans, right?
*Les George won the BLADE Magazine 2023 Publisher’s Award for his humanitarian effort in making 300 mine probes for shipment to Ukraine to help remove the thousands of deadly explosive devices buried throughout the war-torn country.
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.
The father of modern sporting knives was busy making them a half century ago.
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.
A pioneering writer and photographer, Sid Latham chronicled his visit to the Orlando, Florida, shop of Randall Made Knives in the May-June 1975 issue of The American Blade to detail how Bo Randall and his staff made knives.
As Latham noted, Bo believed in the Cutlery Hall-of-Famer William Scagel theory that every blade shape should have a purpose and be practical—and the Randall utility, hunting, combat and survival patterns reflected the Scagel approach. The most popular Randall knife in ’75 was the Model 3 hunter. It was a Model 3 that pilot Francis Gary Powers was carrying when his U-2 spy plane was famously shot down over Russia in 1960.
Bill Platts was closing out his career as Randall shop foreman.
Latham wrote of what Bo considered his proudest achievement of specially designing knives for the astronauts of the Project Mercury NASA space mission. The final design was worked out by Major Gordon Cooper, who took one along on his 22-orbit flight. The knife was subsequently offered as the Model 17.
Latham also covered most of the Randall staff, including shop foreman Bill Platts, who was in the process of retiring and being replaced by Pete Hamilton, to Bo’s son Gary and more. Bo Randall had already been making knives for 37 years at the time—and Randall Made Knives (randallknives.com) continues turning them out to this day.
Editor’s note: Beginning with this issue, “50 Years Ago in BLADE®” journeys back in time to recall what was happening in the early days of BLADE—formerly The American Blade—and the world of knives. This time: BLADE Magazine Cutlery Hall-of-Fame® member Bo Randall and Randall Made Knives.
Top makers explain how they collaborate with knife companies.
The old cliché of the win-win holds a real grain of truth. Any successful partnership must be mutually beneficial, and in the knife industry the phenomenon of the collaboration has come to exemplify the upside of working together.
Years ago, a veteran custom knifemaker described his relationship with a major manufacturer as serving as the company’s research and development department. Such a description is accurate in that the manufacturer often relies on the custom maker for new design inspiration, from good looks to materials and mechanics. The collaboration has emerged in the last 35 years or so as an outstanding means of bringing innovation to the public and putting first-rate knives in the hands of the mass market.
The ins and outs, nuts and bolts, and give and take of the collaboration process raise questions for makers interested in striking deals of their own. A few comments from makers who have achieved great success on the collaboration frontier offer helpful insights.
“It goes both ways,” observed BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola, who indicated he completed his firstfactory collaboration with fellow Cutlery Hall-of-Famer Sal Glesser and the design team at Spyderco in 1989. “You can go to the company or the company can come to you depending on your notoriety. If you are just starting out, you probably have to go to the company.”
On the business side of the ledger, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. Her flair for negotiation and finding the right blend of maker-manufacturer cooperation has been demonstrated through the years as Bob has worked not only with Spyderco but also the old Camillus, Boker, Fox, Pro-Tech, Tactile Knife Co. and others.
BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)
“I was raised by parents with their own successful businesses,” Suzi observed, “and I saw Bob receiving passive income from Spyderco and Camillus, and of course passive income is how you survive after having only so many years to make knives. I began looking at the knife designs Bob had and tried to match the design to the company. Bob has patents lining the walls, and when he lends his name to a knife he should receive a signing bonus and a bonus against the royalties.”
In return for his design skill and the use of his name in promotions, Bob has certainly established himself as a leader among successful custom collaborators. His contribution to a company’s success has enhanced his reputation of excellence across the industry, while Suzi has forged a business posture that results in security for the future.
Knife Collaboration Contracts
The contract is the key component of a collaborative deal, and depending on the circumstances everything is negotiable. Although early agreements made among friends were sometimes done on a handshake, it has become a “best practice” to hammer out the terms of the collaboration on paper, invest in an attorney’s review, and formally memorialize the discussions. Standard royalties run roughly 5 percent of the price at which the company sells the knife.
The Terzuolas include a period of time in which the company is allowed to produce the knife; the period may be extended at maturity with the agreement of both parties. Further, there may be a requirement that the company produces a certain number of knives in a given time period, also renewable. Restrictions on wholesale pricing or discounts that affect royalties may also be negotiated.
For those considering a foray into collaborations, Bob and Suzi offer some advice: “If you’re a new maker, you shouldn’t just walk up to [the company’s] booth at a show. Make an appointment to see them because they are at the show to deal with customers. Approach a company with one or more finished designs. They want a package presented to them, a prototype or existing model, something they can hold in their hands, and in the case of a prototype it’s good to have as many innovations and design creations as you can—anything that will set the knife apart from other potential deals out there.”
Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.
Suzi added that a higher profile in the industry can drive success.
“We are the R&D for a knife company,” she noted, “and when you approach them for a collaboration your social media resumé is very important.”
Making custom knives since 1994, Darriel Caston has concluded collaborations with numerous companies, including CRKT, Spyderco, Boker, V Nives, Kansept Knives and more.
“I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making. I’m an engineer by trade and my 3D drawings are almost ready for production, and that helps with the deals. They ask for STEP files [standardized 3D model data files for CAD and 3D printing] that can go right into machining. Sometimes we work with a prototype, and sometimes we work with a knife that I have been doing for quite a while.”
According to Darriel, one significant element of the collaboration is the retention of the rights to the design.
“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.
“You never want to give up your design,” he warned. “I would license the design to the company usually up to four or five years, and the average is three years. After that, you can discuss if you want to continue if the relationship has been good for both parties. License the design and never sell it. If a company buys the design, then they own it forever. If it became their best seller, I could never make the knife again, and I would have to stay away from anything that looks like it.”
For Caston, every deal starts with a friendly conversation. As progress is made, attorneys draw up the contract. He sees the process as straightforward, whether dealing with an American manufacturer or a company headquartered in a foreign country.
“I find the knife community for the most part to be very honorable,” he commented. “I haven’t run into any bad juju. When you want to do a collaboration, I tell people they need to have a name and a track record of good designs with people following them on social media and stuff.”
Since his first collaboration—with Spyderco in 2015—Darriel can speak with confidence regarding the potential for success.
“It would be rare for someone to take a design to a company without a history or a footprint there. They look for your story,” he noted. “Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story. Then it becomes easier.”
Getting A Collab Off The Ground
Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.
Custom maker/U.S. Marine Corps veteran Les George found early collaboration success at the SHOT Show some years back. He approached Pro-Tech a decade ago, and the association has continued since then.
“I had just finished my first batch of VECP [Value Engineering Change Proposal] mid-tech knives,” he remembered, “and I thought it would be cool to see Pro-Tech make the knife in an automatic. So, I did the CAD work to change the knife to an automatic and walked up to their booth at the SHOT Show. I asked to speak to the owner, and Dave Wattenberg came over and shook my hand. I drew a big breath and told him, ‘My name is Les George and I am a knifemaker and I have a design I think would be a great knife for you to make as an auto and I already have the CAD done would you like to see it?’ I said that all as one sentence in one breath!”
Still, a pragmatic view of the collaboration landscape demands preparation and planning. A so-called “cold call” may not meet with success.
“It depends on the company whether a direct approach will work or not,” George conceded. “Don’t walk up to a company at the BLADE Show and tell them you’re a hot maker and they should pay you to make one of your designs. Instead, walk up, introduce yourself, and show them with CAD pictures, a 3D printed model, or a real knife, and tell them why you think it would be awesome to work with them on a production project.”
When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.
Les sees the components of a particular collaboration deal varying. Of course, some of the structure depends on the negotiating skills of the parties. Commonly, the compensation may revolve around a percentage of dealer or distributor pricing on each unit, and particular deals may extend as long as each party is pleased with the progress.
“Collaborations should run as long as they are profitable,” Les remarked. “Companies don’t generally kill a successful project unless there is a capacity constraint issue or something else outside hindering it. Both parties can end the deal at any time with some allowances for production to finish with the things they have in progress already. Every contract I have ever seen gives one company the rights to exclusively make a particular model. My contracts have a provision that I can make as many customs of my models as I want. In the end, it would be counterproductive to license the same model to multiple companies. The maker would be competing with himself at that point, and it’s not helping the companies.”
Priming The Pump
Award-winning maker Lucas Burnley appreciates the help of friends in establishing a firm footing for collaboration.
“In general, I’m a big fan of pulling on my network,” he said. “If you have someone you can reach out to for an introduction, that’s always a strong move. If you don’t have someone to make an introduction, you might be able to ask around and at least figure out who you need to talk to. Regardless of how you get your foot in the door, I highly recommend going to a knife show and trying to set up a meeting in person.
“A design is only one part of a collaboration,” he continued, “so bring your ‘A’ game and think about what other value you can provide for the company. I was introduced to Boker by Jens Anso and Jesper Voxnaes, and Ken Onion put in a good word for me with Columbia River Knife & Tool. I’ll be forever grateful for those introductions and the relationships behind them. I’ve been able to pay it forward a few times, and hopefully I’ll be able to do it many more times in the years to come.”
Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.
In Burnley’s experience, contracts provide compensation most often in the form of monthly or quarterly royalties based on a percentage of sales. One-time lump sum payments are also seen; however, the income generated depends on the goals of the two parties involved.
“I want my designs to run until my grandkids are old enough to thank me for my good decisions,” he laughed. “If a model is selling, I want it to keep selling. On the flip side, I will routinely ask what models we can kill if they aren’t pulling their weight.
“One caveat here is that if a design is still in production, I want to get paid for it,” he concluded. “Some companies will offer a contract for a set period of time but have the option of continuing to produce the model. I view this as somewhat akin to a one-time payout. If it works for you great; just make sure you are paying attention.”
George specifically limits the number of companies he works with in order to give the relationships the priority he believes they deserve. Consistency, he says, is huge. Real, solid collaborations are not “get-rich-quick schemes.” He remembers getting his first collaboration check in 2014 totaling a whopping $6.
“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations. “A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.
Times change—and checks change with good business practices, commitment, follow through, and most of all a process from contract to design and product that proves profitable for everyone.
The great ancient knife designs aren’t history as they top-notch reproductions prove.
The ancient history of knife design is long, storied and colorful. From Bronze Age daggers to 19th-century dress bowies alone, vintage configurations capture the imagination like a gladiator’s net from the early days of the Roman Coliseum. Tour the classics with these remarkable reproductions.
Colton Arias Scylla
Named after an Etruscan-era mythological monster, Scylla is a repro of an Etruscan Bronze Age dagger by Colton Arias. The 7-inch blade with tapering fuller is a triple feather mosaic damascus of 1084 carbon and 15N20 nickel alloy steels. The spiked-pommel handle is a goat leather wrap and the bolster is mild steel with brass accents. Overall length: 12 inches. (Jocelyn Frasier image)
Dane Standen Cinquedea
Dane Standen outfits his modified cinquedea with a three-fullered blade in multiple welds of 1084, cu-mai, 1084, cu-mai and 1084 carbon steels. Blade length: 8.27 inches. The handle of a takedown construction is stabilized black palm and the fittings are mild steel, copper and nickel damascus. Overall length of the centuries-old Italian design: 14 inches. (Rod Hoare image)
Nick Bachtel Dress Bowie
A 7-inch blade of wrought-iron in a san-mai construction and a handle of elk antler and curly ash highlight a repro of a 19th-century dress bowie by Nick Bachtel. Overall length: 12 inches. The guard is steel and bronze and the knife comes with a traditional bronze sheath (not shown). (SharpByCoop image)
Ken Hall Scottish Dirk
A 12-inch fullered/fileworked blade of an absorbing mosaic damascus and a handle of stained stabilized cherry carved to symbolize a thistle distinguish a stunning Scottish dirk by ABS journeyman smith Ken Hall. Pommel stone: amethyst crystals. Overall length: 17.5 inches. Sheath (not shown): tooled leather. (SharpByCoop image)
Matthew Berry Edinburgh Skean
The Edinburgh Skean by Matthew Berry is a reproduction of a knife by the same name from 1677. The originals were combat knives of Ireland. The blade is 1075 carbon steel and the intricately carved handle is boxwood. Blade and overall lengths: 15.25 and 19 inches. The form-fitting sheath (not shown) is highly detailed leather with a wrap strap. (SharpByCoop image)
J.J. Simon Samuel Bell Dirk
ABS journeyman smith J.J. Simon forged the 12-inch flat-ground blade with Spanish notch for his repro of a 19th-century Samuel Bell dirk from bloomery steel. The handle is blackwood with silver pins and the fittings are nickel silver. Overall length: 17 inches. (SharpByCoop image)
Vincent Soriano Mainz-Pattern Gladius
ABS apprentice smith Vincent Soriano goes full Roman with his Mainz-pattern gladius. Called the Proeliator, it boasts a 14-inch damascus blade of 1075 carbon and 15N20 nickel alloy steels and pure nickel. The handle is curly maple and the guard and pommel are eucalyptus. Overall length: 22.5 inches. Sheath (not shown): leather. (SharpByCoop image)
