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Flour City Ornamental Iron Works, later known as Flour City Architectural Metal Works, continued its production of ornamental and architectural metal products. In the early 1990s, Flour City became a part of Flour City International, Inc., and its headquarters moved from Minnesota to Tennessee. [6]
The Metal Museum, formerly called the National Ornamental Metal Museum, is a museum in Memphis, Tennessee. Founded by artist-blacksmith James Wallace, the museum is devoted to exhibitions of metalwork and public programs featuring metalsmiths .
Ornamental turning is a type of turning, a craft that involves cutting of a work mounted in a lathe. The work can be made of any material that is suitable for being cut in this way, such as wood, bone, ivory or metal. Plain turning is work executed on a lathe where a transverse section through any part of the work comprises a plain circle.
South American metal working seems to have developed in the Andean region of modern Peru, Bolivia, Ecuador, Chile, and Argentina with gold and native copper being hammered and shaped into intricate objects, particularly ornaments. [1] [5] Recent finds date the earliest gold work to 2155–1936 BC. [1] and the earliest copper work to 1432–1132 BC.
Brazing is a joining process in which a filler metal is melted and drawn into a capillary formed by the assembly of two or more work pieces. The filler metal reacts metallurgically with the workpieces and solidifies in the capillary, forming a strong joint. Unlike welding, the work piece is not melted.
The main wage for ornamental ironworkers ranges from $20.89 per hour to $45.00 per hour. The wages are adjusted according to the location of the work and the nature of the work. The main tool of the ornamental ironworker is an arc welder. Welding and burning equipment are considered "tools of the trade.”
The result is a metal of a rich golden brown colour, capable of being worked by casting — a process little applicable to its component parts, but peculiarly successful with bronze, the density and hardness of the metal allowing it to take any impression of a mould, however delicate. It is thus possible to create ornamental work of various kinds.
The Mesker Brothers Iron Works and George L. Mesker & Co. were competing manufacturers and designers of ornamental sheet-metal facades and cast iron storefront components from the 1880s through the mid-twentieth century. The Mesker Brothers Iron Works was based in St. Louis, Missouri, and was
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