Joe Kertzman - Knives. 2019

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We stand on the shoulders of giantswhether it was Sir Isaac Newton who first coined the phrase with, If I have seen a little further, it is by standing on the shoulders of giants, or 12th century theologian and author John Salisbury, who remarked, We are like dwarfs sitting on the shoulders of giants. What the phrase has come to mean is that great men and women (giants) in history blazed trails, making it possible for us to further their visionary quests. Or at least thats what it means to me. In other words, my successes are only made possible because of the enlightened people who came before me.

With that in mind, how on earth did custom knives ever evolve to the point where they are today? And make no mistake about itknives have reached unpredictable levels of craftsmanship, material makeup and beauty. A solid argument could be made that todays custom blade builders stand on the shoulders of giants. Robert Waldorf Loveless was one such giant who designed and popularized the dropped (drop-point) hunter, brought ATS-34 stainless steel to the American masses, fashioned tapered tangs and built chute knives, fighters and so much more.

Buster Warenski had artistic flair and his edged masterpieces exhibited impeccable fit and finish. He incorporated gold, precious metals and engraving into knives like his reproductions of King Tuts dagger and the Gem of the Orient. Gil Hibben designed the first line of Browning hunting knives in 1968, the Rambo knife for the films Rambo and Rambo II, and he was the Klingon Armorer for the Star Trek franchise. Michael Price was a San Francisco gold rush-era maker of fine, highly embellished knives, particularly daggers and other fixed blades, with precious metal- and stone-inlaid handles and silver frames.

Remember William F. Bill Moran? He was a pioneering American knifemaker who reintroduced damascus, or pattern-welded steel, to the American market at an early Knifemakers Guild Show. Often called the father of modern knifemaking, Moran fashioned such knives as the ST-24 fighter that will live in infamy. Ron Lake changed the folding knife industry forever with his inter-frame-style folders, patented locks and world-class quality. D.E. Henry strove for near perfection in his knives, and really helped put bowies back on the map. The crispness of his work spurred other knifemakers into going the extra mile. W.W. Bud Cronk was decades ahead of his time and executed some of the most challenging designs ever produced, such as the Camelot model, among many others. Jimmy Lile, along with John Nelson Cooper and Jody Samson, put knives on the silver screen in the 1960s through the 80s. His Rambo knife had a great impact on the buying public following the release of the movie First Blood.

George Herrons slick, functional hunters were only part of the story. It was the man behind the knives, a true gentleman, who encouraged so many to become knifemakers. Ted Dowell made integral California knives and opened up a whole new facet to the art knife genre. His integral-hilt construction caught on with knifemakers worldwide. Jim Schmidt was the epitome of sole authorship in art knives and folders. His early work with damascus helped create techniques that are still used today. H.H. Franks engraved folders were far ahead of their time in the 1970s. Form followed function with Jess Horns knives, and collectors took notice. He was the first maker to be so popular that he had to have a lottery for his knives at the Guild Show.

And how about Phill Hartsfield, William Scagel, Michael Walker, Rudy Ruana, Jack Busfield, Ron Appleton, Frank Centofante, Al Dippold, Frank Potter, Steve Hoel, D Holder, Bob Lum, Herman Schneider, Lloyd Hale, Harvey McBurnette, Don Fogg, Fred Carter, Rod Chappel, Don Hastings, Billy Mace Imel, Mel Pardue, Barry Wood or Sid Birt?

There are 2,200 custom knifemakers listed in the back of this, the 38th Edition of the KNIVES annual book, and some of them could be added to this list of giants. Yes, we stand on the shoulders of giants, we acknowledge their foresight, talent, ingenuity and greatness, and I dedicate the KNIVES 2018 book to all of them. I apologize for those who I omitted.

Joe Kertzman

The trio of knives gracing the front cover of KNIVES 2018 would be the envy of any knife collector, with the question being only which one to purchase first. At left is a pretty little piece fashioned by Gaetan Beauchamp for the front pants pocket or display case, whichever the case may be. The fine LinerLock folder showcases a mammoth ivory handle and color scrimshaw in a floral motif with hummingbirds in flight, a Mike Norris stainless damascus blade and 416 stainless steel bolsters. At the center of attention is a Curt Erickson art dagger parading a plum-agate-rock handle, a hot-gun-blued guard and pommel that are gold- and silver-inlaid and engraved by Julie Warenski-Erickson, including gold dot English borders, yellow sapphire inlays, yellow citrines in the pommel, and more silver and gold inlays within the confines of the hollow-ground 440C blade. To its right is a Jumbo Gents dress folder in a lock-back configuration from the hands of Rick Genovese, complete with a CPM 154 blade, black jade handle inlays with white jade in the middle oval, and engraving in a gold-inlay leaf pattern by Mitch Moschetti. Hopefully one or all three of the cover knives will whet your appetite for whats inside the book. (cover photo by Kris Kandler)

What makes a guyafter toiling for days on end, weeks and months on a knife, forging the steel, shaping the blade, sanding it endlessly, fashioning a handle and guard, gluing, pinning, polishing, fitting and finishingdecide, when it appears that the edged tool couldnt be more perfect, to sculpt a handle charm for the piece out of precious metal? What would possess a person to embellish pinheads, create piqu work, make a chain and fob, engrave imagery and scrimshaw scenes on edged tools and weapons that are already impeccable precision cutting instruments? Is it sadistic or just plain insane? Is that person an incurable perfectionist or a true artist, a half-cocked workaholic or a handcrafting genius?

From what I know of the makers Ive met, they cant decide either. They have no answers, or maybe I should say they dont readily reveal the methods behind their madness. Most just feign ignorance, give slight hints of smiles, shake their heads, stare blankly and say that they just wanted to give the knives a little extra touch or two in the shop at 3 oclock in the morning, with their wives sleeping in the house next to the shop, and knowing full well they have another full day of work ahead of them. They just had to finish the custom knife and make it better than the one that came before it.