Except for the double guard, I like it. Then again, you wanted to add your own touch, so who am I to complain.

Dale

Thanks, Dale.

I agree that most of Bell's knives had no cross guard but he did make a few that way. I'm just not a big fan of integrals so I decided to add the cross guard. Unfortunately, I'm not set up to cast a nickel silver guard as he did so I did what I could to maintain the feel.

Gary

I never realized that he cast the guards. Of course I've never had the chance to look at one of his knives up close. I think you did well in capturing the spirit of his knives. Maybe I'll try one someday.

Dale

Many of the makers of that period must have been adept at foundry work as it shows up on many of the knives. Here's an example of Samuel Bell's work:

Maybe some day I'll give it a try. I have had friends who were very good at it but unfortunately I never apprenticed with them.

Gary

Gary,

I like it! Man, that's some WILD Damascus!!

Thanks, Steve. This one really felt strange as I forged the blade so long & narrow. It certainly isn't your typical Bowie.

Something nice in doing these historic type knives is that it has forced me to expand my usual techniques both for blades & hilts.

<img src=' http://www.americanbladesmith.com/ipboard/public/style_emoticons//smile.gi f' class='bbc_emoticon' alt=':)' /> Glad that you liked it.

Gary

The detail on that guard looks like is was done by chasing or repousse on a thin sheet and soldering to a thicker one rather than casting though you could get something similar by casting. It could also be a technique that is mostly forgotten theses days called pressblech again in this sheet almost foil, that is then soldered to a thicker backing.

MP

Gary,

from what I see, there is nothing wrong with that knife. I would appreciate a closeup of the guard/ricasso area. It's difficult to see what you've done there in the photos. Also,you said that you aren't "set up to cast" and I just wanted to turn you on to a form of sand casting called Delft Clay casting. It is surprisingly simple and produces some pretty good results. Here's a link to a you tube video by Andrew Berry on the technique.

https://www.youtube.com/watch?v=u5iAOkZgzLw

Thanks guys. There are several of these techniques that will be fun to play with for future pieces. From what I can see it looks as if making the mold may be the most difficult part of the casting or stamping process. I don't think that I will ever attempt casting brass or N/S because of the fumes and breathing gear needed but bronze or silver might be fun.

I appreciate the info.

Joshua,

I don't have the knife with me at the moment but will try to take some close-ups in the next day or two. What I did in the ricasso area was to pin a piece of 1/4" 416 to each side the H/T'ed blade (with the beveled area pre-ground & polished) and grind it round while in place. I then did the etch of the blade (with the rounded ricasso in place) and then sanded & buffed the rounded outside leaving the beveled area of it etched to match the blade more closely. The guard & frame tang handle were attached normally with the two escutcheon pins being through pins to attach the handle.

Gary

Very nice work Gary. I really like seeing your journey into the historic knives. Like me, I know you are getting to know the old famous makers by recreating their style. That puts you in a unique position when discussing the antiques that we see in the books.

Thanks, Lin. I've enjoyed the journey. I never realized all that I would learn when recreating the historic knives until I started making some of them.

Joshua,

Here are a couple of close-ups of the ricasso area. Maybe this will show what I did. <img src=' http://www.americanbladesmith.com/ipboard/public/style_emoticons//wink.gi f' class='bbc_emoticon' alt=';)' /> Not my best attempt at peening the pins.

Gary