bruce johnson

They hold up well.

I don't have a way to test the hardness but sharing my experience comparing several different makers. Yes the Roses are brittle and yes they will likely chip or crack if you drop one on concrete. Same with Joseph English, Huber and English, Harrington, and some of the other early and mid 1800s makers. Keith Pommer and I shared the conversation once. I brought up that I saw more cracks in Rose knives than other makers and he figured that was a fair assessment. Obviously the steel is brittle. The worker bee in the harness factory drops one and it cracks. It was not worth the time and effort to grind one back with a short crack and salvage the knife for these guys. They were workers paid by the production not paid by the hour to spend half a day sharpening their own tools. Brittle steel and easier for the worker to replace than repair. They tossed it in a box and bought another. It rusts over and the crack isn't visible. A hundred years later somebody finds it, Bruce Johnson gets excited and buys it. Once the rust is gone, the crack is evident. Once I traded up from entry level round knives I favored the Shapleigh or Clyde knives. They were fairly easy to sharpen, held a decent edge, and good for learning what worked and what didn't for edge geometry and sharpening techniques. If you screwed one up, it didn't take a a couple hours to fix. My joke was that I'd drop or knock off a knife and you could watch it turn 180 to land on concrete floor edge first. It would bounce on that edge three times in three different places before falling over, leaving three places to fix. Once I installed stall mats on the floor, I found the mats carried a repellent force field that prevented knives from ever falling in the first place. I don't think any hit the floor again and if they had would not have been a problem.

Barry's French edgers are sharpened on the bottom and there is a bevel on the bottom. The blade is a little thicker than others and more durable, but there is that edge bevel to live with or not. There are other makers like McMillen that are the same. You can't hold them flat and push forward as you probably can with your Owden or others. You do have to raise the handle to a higher angle and find that angle that they will cut at. If that wont work for you, It is unlikely that replacement will be much different for your intentions. I would not resharpen it. Decide if it will work or not and if you return it as-is then they just have to touch up the edge, not a full regrind and polish.

I'm not sure how many Rose knives have been through my shop - but quite a few. I've got pictures of 34 different ones and there were more that pictures were lost. I am attaching a picture of one of my favorites that I did here. First off, these really are not like many other round knives with the exception of some Huber and English or Joseph English knives I have done. The steel in these was small batch crucible steel and hand carboned. If you have not worked with a Rose knife before get in the right frame of mind - these knives can frustrate you every step of the way. This is among the hardest steel I've seen in knives. The old guy who taught me a bunch said a Rose knife is harder than a whore's heart and will get sharper than a mother-in-law's tongue. True enough. Old men are generally wise. It is prone to pitting, and prone to cracks. Check it closely with magnification as you progress for cracks that may reveal as you work it. One in five of mine end up in the garbage on inspection. Rose knives tend to be a bit thicker than many other knives. Fact is that as a short cut, a lot of times the previous users did not take the shoulders of the bevel back as they sharpened the edge. They just raised the angle. A lot of the time the current edge is now too steep. That shoulder should be taken down some for a lower angle bevel. I shoot for about a 1" bevel back from the edge at least before I think about an edge. How much of the pits and grind marks behind that you choose to take out is up to you. I use a light convexing on the final edge. If you choose to use stones - have at it but realize if that knife is good then you will be there a while. I tried a couple English and Rose knives on stones. What would have taken a good HF Osborne, Gomph, or Newark CS Osborne knife down with a bit of time will make a little scuff on a Rose. First time I saw that I was floored. I did one to completion on stones - a little time spent here and there so I would not know exactly how many hours I had into it. I'm guessing double digit hours over about 6 months time. You will be reworking and flattening your stones a bunch. I have changed how I sharpen a lot of things over time. Now for knives I use almost entirely mechanical stuff - knife grinder through the grits, then wheels with aggressive compounds through finer compounds. I can usually do most knife refurbishments in about an hour, Roses are a few to several hours depending on condition. On most Roses I am usually going through at least 6 grits on belts, then 5 grits of greaseless compounds, followed by 3 colors of buffing compounds. Granted my knife grinder and bench ginder-buffers are all variable speed and I slow them down to avoid heat build up and not dip as often. The finer the grit the slower the speed or lighter the touch to avoid overheating. Barehanded to feel for heat as mentioned above. Wide open 3450 RPM bench buffer and you can kill one pretty fast. I've mentioned in articles and interviews that I think most people stop sharpening too soon. They get to a serviceable decent edge where if they spent five minutes more refining that edge they'd have a sharper edge. On a Rose, make that 5 minutes at least a half hour. When I am done and have a fine cutting edge on one there are not many accomplishments I like more. Are they worth the effort - yes I think so. Stand on the top step of the podium and play the anthem! The good ones like a Rose will hold an edge quite a while, but not forever. Stropping - you can clean the blade edge with green compound. If you want to dress an edge that is starting to sound off or drag, then black compound is my choice. Like everything so far, It is going to take more strokes on a strop than most other knives. Quick little story to finish this. Keith Pommer from Worthing SD was a great leather tool and machinery guy. Maybe 12 years ago I visited him and he offered me a really pretty Rose knife. He said I probably wouldn't believe him but he had 6 hours in that knife. I had no doubt, but a lot of people who didn't know would have questioned it. I had a couple Roses at home I was using already and passed, told him he ought to keep it as nice as it was. Several more visits and every time that knife was still on that same work bench. Eventually they auctioned the shop out but kept his personal tools out while he was still alive. He passed away later and his daughter offered the tools for sale last year in one lump deal. I flew back, bought them, and packed to ship home. There were a few touchstones but one of the highlights was finding that Rose knife in the bunch. I was not expecting it to be there and said a few happy bad words. It It is one of my prizes now.

Contact Tippmann. I saw a video several years ago where they used a cam and arm to power one. I think they were just playing around in the shop trying it but they probably have advice

It looks like the Rolling press is only for dies that height. If you get dies from other makers you may find those dies are 3/4 or a more universal 1-1/4". A benchtop shop press conversion will work no matter the die height and be in that same pricing or a bit less. I have used one for years.

I've got a few reasons I groove. Yes, I've worn stitching out on belts even when it was grooved. Worn stitching on saddles. Worn stitching on bit loop ends of headstalls. Repaired a fair amount of worn stitches grooved and not., but grooved will last longer. I was in the shop of one of the finer saddlemakers there is in the country a month ago. You know what impressed my wife the most? It wasn't the carving, the construction, edges or anything else. It was how deep and cleanly he grooved his stitches. Details and function matter. Obviously your mileage may vary. For the "it weakens the leather argument" here is a simple test. It came up in a class I took probably 30 years ago. Groove a piece. Take that thready piece you grooved off and pull it apart. That has strength and is going to hold your leather together? Recessing your stitches has to be better for them than sitting proud on the leather surface. Its easier for me to groove than crease but creasing works. On some real show pieces I grooved and then ran a "patent leather countersink" tool over the groove to define the channel even more and burnish the shoulders. They haven't made that tool commercially for close to a hundred years, but handy to have if you find one. The other reason to groove is that is makes a target for stitching. I hate wavy meandering stitch lines. Sometimes it happens but a lot less when you groove and have a target. I've had machines with and without edge guides. I still soft eye sight the needle and the stitching groove to keep my lines straight even with a guide. As natural as gun sights when you do it enough. When I was handsewing I grooved front and back. I checked that backside to make sure my awl was coming through in the groove. You might have some stitch length difference on the back side learning your stroke with the awl, but slight differences in stitch length aren't as obvious as a wavy line.

There have been some recent posts that Id like to share my thoughts and opinions on. This is just that - my personal thoughts. Take it for what is it worth and if you can use it - great. If not, write it off as a rant. Pricing leatherwork is not easy. When people ask about pricing, they have crossed a line. Gone from hobby to business (registered or under the radar, we are not the business police here). Grandma might give away her knitting she does for fun, but as soon as she sells a little and people ask for more - she's in it for some measure of money now. Break-even, coffee money, Disneyland trip, help a little with mortgage payments, quit your day job - there is probably room for everyone. There are complicated pricing formulas that work, some that don't. Not many simple formulas work. I made every mistake you can make and sometimes on a big scale. Some people here know my story, some don't and doesn't matter. That is not my intent here to be all knowing on pricing. I am only going to focus on one factor and that is leather. Realistically, leather is the cheapest part of anything you make if you have to value your time, tools, and other materials. Leather costs and scrap. Scrap is NOT free just because it is scrap. If you bought a side then you paid exactly the same amount for every square inch piece of flank as you did for every square inch piece of back or butt. You might not like the flank and should have bought a bend, but that flank or belly was paid for just the same. Figure out a place to use it with a "purpose for it's properties". (not an original quote). Then account for the real cost of it when you use it. You might be surprised what can be done. My late first wife took little end cuts off headstall pieces - 1/2 or 5/8 by 1" sometimes, stamped a random flower center impression or some small geo stamp impressions, put an eyelet in and a small split ring - instant designer zipper tabs. Even with chemo she might do 4-6 an hour when she felt like it. Sold them for $8-10, little beaded inlay took longer - $20. I was mainly doing strap work and personal stuff then with the occasional saddle and scrap was never an overflowing problem. My wife now started with 4" coasters, clicked out my saddle scrap and stamped simple designs on decent leather, on the crappy pieces glued some hair-on hide. At that point I was still building saddles, rope bags and cans, and she ran me totally out of scrap. Called my supplier and bought her rugged sides and second grade hair-on hides to keep up with those orders at the time. Point is, money was made and materials from either scrap or supplier pay their own way. I'd say don't fall into the trap of the scrap is just scrap and not account for it. Go into it with the idea that is has the same value and you will make "Profits From The Scrap Bin" Another not original quote - used to be regular feature in the Leather Crafters Journal. .

Stephen Please check your emails. I've had Tandy, Chuck Smith, and Makers. Chuck's might be a little smoother but they were north of $400 new I think. I'm pretty sure they out of production from him now. The old Tandy version is prone to rusting interiors due to age. Some are OK and some aren't.

You can sand or grind the edges fairly smooth. At the Sheridan show I saw some Stingray work that had one of the Italian edge finishes that looked great. The beads are hard on needles and one tip was to use a dremel cutoff wheel to make a stitching groove. Obviously that takes some care but it looked really good.

We are in Sheridan WY for the Rocky Mountain Leather Show this week. My wife Rundi Johnson took a 2 day alligator wallet making class from Broderick Vaughan. They were supposed to make one and ended up with enough spare time to make a second wallet today. They started with alligator crust (undyed). They dyed the gator, made the interiors and assembled them. I think she did a great job and she had fun learning new techniques! Tomorrow we set up the vendor booth for the trade show Friday through Sunday. If you get the chance to take this class she recommends it highly. If you are at the show please stop by our booth!

Those really look good Bruce! (coming from a guy who has seen a few....)

Fine looking work!

Don, yes I think a heavier thread would be better than the #138. I’m glad you used the term “well meaning”. Realistically, is a bull riding vest the place to cut costs?? They might be saving $100-200 for the kid but if there is a failure vs tested and proven designs made with materials and experience that’s hard to justify.

If you are going to any leather shows Chris Andre has a class on tips and tricks for the 26. Good class from people I’ve talked with

I use the single edge razor blades. They fit my wooden strap cutters and I break off the excess length with pliers.

The cutter is pretty self explanatory. Biggest thing is figuring out how to remove or tighten the blades on the shaft. Some have holes and an adjustable spanner wrench will work. If not, the old guy who taught me used a pine board wedged into the two wheels and cranked the handle backwards to bind and lock the blades and unthread them from the shafts. If that doesn't work then a vise grip will but be careful of the blade edge. To reinstall - spin on the inside wheel, then the outside. The board trick nearly always works for tightening them once they are threaded snug. Skiver - slide the blade in to the stop. partially tighten the two hold down bolts. put the "back-up bolt in the blade rest and tighten to the back edge of the blade, then back off about 1/4 turn to allow the blade to sit just behind the stop and tighten the hold downs. That slight allowance keep the blade just a hair back of the stop and prevents chipping that blade corner. The angle of the blade is adjusted at each end. On the side away from the crank, that small knurled eccentic the bolt goes through is rotated and that makes the blade go up and down on that side. Set it and tighten the hexbolt. On the side of the blade nearest the crank, the eccentric has a little "handle" and the bolt on that side has two ears to act like a thumbscrew. Turn the handle to whatever angle you like and tighten the thumbscrew. The gap between the top and bottom roller is what makes the tension to feed the leather through. Narrower gap for mostly thin leather, wider gap for heavier leather. It adjusts by the vertical hex head bolt. The spring helps with tension too and flexes to allow thicker leather through. If the leather feeds but then spins out, narrow up the gap by loosening the hex head bolt. This lets the bottom feed wheel get more of a bite. If it wont feed at all the gap may be too narrow and tighten the bolt. This opens up the gap so the wheels can grab the leather. Play with spring tension as needed. Realistically, once you get this all set you rarely need to change anything on the fly. The guide on the front slides back and forth - feather edge over to the right to a slight skive with a mostly full edge as you adjust it left. Oil the ports every so often, grease gears as needed. Once you grease up the universals on the bottom wheel drive shaft on the skiver you shouldn't need to break into that for a long time.

MIke, so the finest it will stitch is 7 SPI?

I've never seen anything original. Pilgrim Shoe used to sell parts and I believe their catalog had a parts list. I don't recall a diagram. Bad News - Harris retired and Pilgrim Shoe is no more. I've refurbished and restored several. I don't have any pictures of the 3-in-1s handy. I do have pictures handy of a Landis crank skiver I did and this version of the crank skiver attachment is the same as the American. These might help some. The bottom end of the three in one is pretty basic. The gears pin to the shafts. The threaded end for the wheels are threaded right and left handed.

If I miss anyone, it is not intentional New stamping tools - major players are Barry King, Wayne Jueschke, Horse Shoe Brand Tools (Jeremiah Watt), Clay Miller, Gomph-Hackbarth, David Mabe, Sergey Neskromony, or Tandy New Hand Tools - Barry King, Ron's Tools, Horse Shoe Brand Tools, Tandy. There are a few top end knife makers but they are pretty much limited to knives so really don't fit your deal.

Where at in California? I'm in Oakdale

Does it l have the heater? - plug it in no heater - paint stripping gun to melt the wax. Torches can be a little harder to control the heat and gets kind of exciting when they flame it.

Yes I have. A little over a year ago I bought the remains of a belt and small leather goods shop. The previous owner sold and the new owner didn't want some of the tools as part of the purchase. Previous owner sold things on the hand made, no powered machine and single craftsman start-to-finish each piece premise. Each worker had a full set of tools and the original owner liked to try new things. New owners went powered strap cutters, splitters, and edgers. In the deal I got 5 or 6 of the $60-70 splitters that use the snap-off utility blades. Also some of the $120 handled skivers and a few import $175 splitters with a sort of locking mechanism. All were new in the box. I had the other styles before but these were the first for the bottom priced ones. On the snap-off blade versions, they were surprisingly good. The rollers were pretty true and fairly solid little units. I'm sure there are some duds but the ones I had were OK. I would not go into battle with them for production, but for the occasional skive off a belt end they do it or to split some lace they are fine. Strop the blade before using and they are going to do the job cleaner and easier. I took these splitters all to the Sheridan leather show and sold them out pretty fast off the bargain table. Don't get too hung up on blade width. First off, most people can only pull about a 3" wide strap through any splitter. Realistically it gets harder after about 1-3/4 inches and 3" maxes out most people. That is strap, you will not split many if any wallet backs or thinner leather without stretch and deforming it. The wider blades only mean you have more blade edge to work across before you need to strop or resharpen the blade. I deal in a lot of splitters and realistically these fit a niche.

I am going to politely disagree with a few posts here. There is no stamping on this piece. It was not made from nails made into stamps. It was drawn on with a blunt tip tool. Blow up the picture sizes and that is pretty obvious. This piece you referred to has been antiqued or had HiLiter used to get the darkened effects in the tickled lines. In the older era, it could have been drawn on with a lightly heated tool to burnish the design (not hot enough to scorch) or just drawn on damp leather and over time the lines filled with dirt and grime to pop the design. I would really like to get some background on the term "nail carving". I am wondering how historic that term is and am reaching out to some reproduction customers for info. I would bet the previous couple inquiries I have had regarding "nail carving" may have all come from this one page or whoever makes these holsters. I just don't have a lot of holster references to backtrack through. There is a book called "Packing Iron" that shows a lot of holsters but mine is out on loan. My mind is trying to draw a parallel with the accepted term of "finger carving" - free handed designs using just a swivel knife and no stamps.

I have heard the term a couple times recently, and have never really found an original historical source for "nail carved". If anyone has the history lesson on it I'd sure appreciate it. The couple examples I've been sent are just like this holster. Basically a simple outline only free-flowing design with no middle detailing. Could have been traced on with a nail. I don't see a stamp used in this one. A nail, tickler, stylus, anything blunt could potentially make this design.