Latticino

My shop has pretty insufficient lighting, to the point where I was having trouble seeing what I was doing at the grinding and polishing "stations" even on overcast days, not to mention at night when I could get into the shop to work most often.  Just mounted an inexpensive task light (garage sale cheapo drafting lamp) onto my 2 x 72 grinder with a nice halogen spot bulb and can't believe how much that helps.  All I can say is, if you don't have good lighting at your "cold working" stations you are missing out.  Heck, I think I may even get some additional fluorescents for the forge zone...

Welcome to the site.  I think if you read in the anvil section a bit you will find that this question, or one rather similar has been discussed more than once.

I'm hardly an expert, but to get you started...

Unfortunately this is a pretty open ended question.  A lot depends on what you want to do with your anvil.  One that is particularly suitable for making horse shoes will be different from one for major architectural steel fabrication, or one most suitable for blade-smithing. The general things that seem to be considered in selection of an anvil include the following (in no particular order):

1. Weight: an arguable point regarding the specific weight ranges,  but, do you want something that is easily transportable (120 lbs. or lighter range), for general shop fabrication (150 lbs. and up), large forgings (200 lbs. and up)
2. Configuration: single or double horn, stepped cutting plate, location and size of hardy and pritchel holes...  Again this depends on what you want to use it for.  I do like the German pattern double horn anvils you seem to have more of over in Europe, but you can do some great blade-smithing on an 80 lb.  6" x 6" block of steel set on end into a solid mount.
3. Condition:  mostly of the anvil face, but if legs are broken off it can be a hassle, and if the body is cracked, stay away. Check this site for rebound test and face delamination for more information. It is nice if there are no noticeable large divots in the face and that it is generally speaking flat and true, but these defects can be worked around.  If this is an anvil for use, rather than collecting, edge condition can also be an issue.  Check this site for info on recommended edge radius.  Rust and or paint are no big deal, but can hide defects, so inspect closely.
4. Method of manufacture:  forged or cast steel with a hardened face probably best.  Generally stay away from modern cast iron anvils, unless you are looking for a doorstop.

I think you need to do a bit more research.  Recommend reading the forums here and checking

link removed at the request of Jock, anvilfire owner.

Good luck.

Might want to suggest they source a couple of heavy vises.  Post vises would be great, but even a good heavy duty bench vise will do in a pinch.  If you don't know the size of the anvil hardy hole it might still be worthwhile bringing down a Brazeal style hot cut hardy.  The ones I've seen work in something of a range of hardy holes (or in the proposed vise in a pinch).  I guess you could gimmick something up from a leaf spring if necessary, but if you only have 5 days...

Another thing they should be able to source down there is Borax, or the equivalent, for flux.  Could try to get someone to bake some off to make it anhydrous as well before you head down.

I'm kind of surprised that there isn't a thriving blacksmith culture in Nicaragua.  A quick online search gave me this: http://blacksmith.org/forum/traditional-blacksmithing/visit-nicaraguan-blacksmith/

I concur with the existing wisdom that has already been posted on this.  Was going to write something similar yesterday when I first read the OP, but for some reason could not post to IFI.  Other things you may wish to check if the ventauri inlet adjustment doesn't get you all the way to where you need to be:

1. Gas orifice size is pretty important, that is what drives the naturally aspirated induction of the combustion air.  If the forge worked well before you shouldn't have any trouble, but if the orifice is just a MIG tip screwed into the interior gas port, as with many self made burners, it could have fallen out in transit.  You may be able to see it if you slide the ventauri sleeve out of the way (depending on burner construction)
2. I'm confused as to why your gas ball valve appear to be in the closed position (handle perpendicular to the pipe) in both the cold and firing photos.  This should be set so that it is parallel to the pipe when in the firing position, so the standard action of turning it 1/4 turn to off position can be done quickly in case of a problem.  You should not be using this valve for metering your gas, that is the job of the regulator near the propane tank (get a gage, as Charles mentioned).
3. I suggest you add a longer section of  copper pipe upstream of the ball valve to get that flexible rubber propane hose as far away from the forge as possible, particularly with a top fired burner.  Honestly I'm not a big fan of using that flexible gas hose for any "permanent" equipment in a smithy, though for code compliance that forge could arguably be termed a portable unit. 

Looks like you are on the road, good luck.

Looks to me like a rather large billet for that size door opening.  Does it have to go in on a diagonal? 

If tried by now,  how did it work?  I have built a similar sized gas furnace,  but with only one burner and fired on natural gas. Feel like I struggle to get to welding temperature. Haven't tried a bullet in mine yet, but hope to in the future. 

Wow, that sure is one deceptive 10 lb. sledge, or you have basketball size players hands.  Judging by the scale to your hand, I'd never guess it was more than 6 lbs. at most.

Oh, I see on re-reading that it was significantly cut down.  What does it weigh now?  Can't imaging forging with that as is (unless you want to add texture to a piece).  After being flame cut it might be a great soft face hammer for driving tools though.

Not hugely relevant to this safety discussion, or pertinent on a site where we all take pride in making handcrafted tools to use, but I think you would find it tough to make a brass hammer for less than what it costs to buy one at Harbor Freight:  $25 2 LB Brass Hammer.  I use mine as a "disposable" striking tool for hitting the back of punches, chisels and the like to save my forging hammer's face, as well as avoiding mushrooming the back of the struck tools.  Works great for me.  I suppose if you want to class it up you could engrave it or do some ornamental filework... 

Wish they made them in larger sizes.  Perhaps that was your plan.  Glad to hear you are choosing the safer path.

Sweet!

Love projects with that kind of simple elegance.  Looks extremely well executed.  I know how tough it can be to get it all to tie together so cleanly without any ornamentation to hide mistakes.

I filled mine about 2/3 full with concrete, sunk some heavy angle in it and used it to support my leg vise. Once things warm up will use the top for a slack tub (heavy angle is painted). Now it works well as a stable, but still re-locatable vise mount.

My son gets a gamer's magazine and ran over to show me an article about a guy who makes swords based on classic fantasy game weapons. Guess who it was prattling about how his swords are "real weapons" just that human beings are too puny to wield them?

Recently had a Craig's list experience with blacksmithing equipment as well.  Have been on the lookout for a  larger anvil and saw a local listing by a guy for a anvil on a truck rim style stand for $350 and a CI coal forge for $450.  He also had loads of pictures for farm equipment attached to his listing as well.  Called him up and asked about the equipment.   The typical questions, weight, condition, how long ago was it used...  He said that he had used it only last spring and all was in very good condition, the anvil was over 100#, but that someone was coming over in around 3 hours to look at them.  I don't usually try to "snipe" sales, but got excited and told him I'd drop everything and drive over immediately.  The fact that there was another anvil hiding in the weeds in the shot  was certainly a factor.  I figured I had a farmer who was downsizing and, hopefully, not expecting collector prices for blacksmith equipment.

When I got there I was quite disappointed.  This guy was right out of an American Pickers scene, with multiple barns full of antique furniture and around a half dozen anvils scattered around the property.  He was definitely in the antique dealer mode.  The one he had listed for $350 had rust damage to the horn that literally had eaten half way thru it (looked like someone had started to hacksaw it off and given up and set it outside for a couple of years).  The face was badly damaged and size wise was in the 75# range.  I told him that I wasn't interested in that particular anvil.  He asked me why and when I explained about what I saw as drawbacks for use, became a little verbally abusive and noted that I had very clear ideas about what I was looking for, and that I would be better off buying something new.  Against my better judgment I looked at his other equipment.  The forge was stuffed back into a trailer and clearly hadn't been used in years.  However it appeared to be in fair condition, but the hand cranked blower was seized (and the tuyer was a bit deeper than I'm used to).  I wasn't really in the market for a forge, so I passed on that as well, to more abuse. 

The prize was an unnamed anvil that looked to be around the 250# range and in very usable shape.  Unfortunately I didn't have a bearing with me to test the rebound, but asked the price in any case.  He wanted $900 for this one.  If I trusted him at all I might have taken a chance on this, but decided that with his attitude I really didn't need it that badly.

Could it be upside down in the picture?  When I look at those small wheels it reads like some kind of crane element meant to slide into a track of some sort.

Thanks for all the replies.  I'll keep at it and work harder on hammer control.

I have a ~125 lb. Peter Wright anvil that I picked up used off Craig's list a couple of years ago.  Finally have a gas forge built and have started to use it.  When I got the anvil, the face was very marked up, so on the advise of other smiths in my local group I took a 4 1/2 grinder with a flap style sanding wheel to the surface to clean it up a bit.  I'm sure I didn't get it very hot, or even warm, and didn't take off more than a couple of mm of surface.  I get decent rebound, or it feels that way (I haven't got a correct size bearing to test it), but on any missed strikes (still a relative beginner and my son, who also works on it a bit, is a rank beginner) it takes a noticeable divot.  This is even with cheap Chinese Harbor Freight blacksmith hammers.

I don't have a Rockwell tester or anything.  Is this typical or is there any way to tell if this anvil has been damaged (in perhaps a barn fire or the like)?

Thanks

I used to do quite a bit of craft wholesaling as well as retail at some of the better juried shows, not in metal - in hand blown glass, but I believe the principles are fairly similar.  I did both the ACC and Rosen wholesale shows, which, at the time, were arguably some of the better avenues to approaching the wholesale craft market.  At the time internet sales of fine crafts were still in their infancy, and the relatively recent upsurge in fine craft sales online may have changed things.  Typically my annual revenue was split about 50% for each of retail and wholesale.  A couple of things I learned:

1. You can not price your retail work below what the gallery sells those items for without risking loosing those clients.  The difficulty is that while many galleries adhere to a double markup, some have triple markups, and some give fairly deep discounts to their professional clients (designers) or offer periodic sales.  This can make it a bit difficult to price your items for the retail market.  One potential solution is to have a completely separate line that you only sell at retail shows (also works for hitting those lower price points that work well for impulse buys) with a couple of larger attention getters at the full double wholesale price.
2. Make sure you include the cost of the wholesale show fees (space fees, booth [design, construction, maintenance, lighting...], travel, literature, lodging, food...) in your wholesale pricing.  You will be surprised at how much it costs to put together a professional display.
3. Your display must be very well designed, easy to setup and well lit.  Having good quality video showing the processes is a great draw (both for retail and wholesale).  Another tip is to have large scale photos on display of your work (especially if it is small and intricate).  The wholesale shows are typically very large, and buyers have a lot of ground to cover, anything that will attract them into your booth is a big help. 
4. Keep your booth area clean, the more professional the better clients you will get. 
5. Don't over pack your display, leave enough space between pieces to let the buyers see them and imagine them in their own galleries (where they will most likely be packed into displays with other work, but let them dream...) 
6. If you use the same booth design for your retail and wholesale shows  expect to have to upgrade/rebuild much more often.  You may want to rent booth equipment for the wholesale show instead.
7. Doing full out production on smaller items for wholesale clients is brutal and somewhat thankless.  As previously mentioned attempt to tool up to "automate" as much of the labor for this as possible.  My experience is that is was hard to make minimum wage blanking out smaller production items.
8. Be very organized in taking orders from galleries.  Getting triplicate forms is cheap at places like Kinkos, and having a signed order form can save a lot of questions later down the line. 
9. Fill out a central production schedule as you take orders, nothing is worse for a new client than not being able to meet a deadline you have promised.
10. Have something for the shoppers to take away with them.  A wholesale price list and drawings or good photos of your work on card stock at a minimum.  Include your booth number and contact info on the price list, the shows are typically multiple days and buyers will have to find you.  Also include your payment terms (in 12 years of retail shows I only had one bounced check, galleries were much more often late in payments, or had the checks get "lost" in the mail).
11. Check out the shows before you signup for both retail and wholesale.  Other peoples work needs to be a similar level of quality and to some extent price point.  It is hard to sell $2,000 sculptures at a show populated with beer can birdhouses and tie-die tee shirts, not to mention imported goods being rebranded as hand crafted.
12. The last report I got from a fellow craftsman who was at a formerly good wholesale show in 2014 (ACC) was that both attendance and sales from buyers have plummeted.  This was both from their experience and an informal survey of other folks doing the show.
13. Don't leave your booth unattended. Should be obvious, but I've seen it happen dozens of times.
14. Selling is tough.  Try to get someone else to do it with, or for, you if you are not good with people (fortunately my wife was excellent). 
15. It can be very difficult to break into wholesaling, as some craft galleries are reluctant to buy from someone that they haven't already had a track record with, or have seen at the shows for years.  My first year selling wholesale was quite an education in patience.  Be prepared to sit for a couple of days at a show, with a smile on your face and few, if any, sales to attract that last minute shopper.  Most buyers will go to their regular suppliers first, both to see what is newly offered and to get into their production schedule.  As a new wholesaler you are far down on the totem pole.

Good Luck

I mounted my home built gas forge on an inexpensive Harbor Freight grinder stand.  The one I chose is metal, stable and height adjustable (it was also on sale for around $30 if I recall properly).  I could have fabricated something for less money I'm sure, but was in a rush to get setup for testing the forge design.  I would guess the workmate table with the firebricks will work just fine for you.  Probably will want to justify the opening at the front edge of the table, but otherwise a well insulated forge shouldn't radiate too much heat from it's circumference.

I've used Type K thermocouples up to 2,300 deg. F with pretty good success, though they were relatively large diameter wire (around 10 GA as I recall) and inserted in high alumina ceramic thermocouple tubes for protection (from molten glass in my case, but would also work for flux). 

You really should pony up the bigger bucks for either a Type R or Type S thermocouple for these temperatures if you can afford same.  Make sure your digital, or mechanical pyrometer readout is designed for the thermocouple that you choose in any case.

Also, for really even heating you might consider a ribbon burner.  They are nice and quiet, and spread the heat out over a relatively large area.  The one drawback you may have is that they are not really well designed for a large range of modulation.  The ones I've seen setup for modulating in the past had some kind of slide gate installed to block off some of the outlet ports, which kind of defeats the purpose.  I believe it may have something to do with maintaining a safe range of velocity of the air/gas mixture exiting the burner ports.

Just lovely work.  I can see why they are in demand.  Hope you made a good $/hr on them.

Well had a long post regarding this written, then the system crashed when I tried to upload a couple of images.  Won't try to recreate the whole post, but am thrilled to announce that I tried my first forge weld in my low pressure, natural gas fired forge and was successful.  The local experts said it couldn't be done...

The forge is a modified compressed air tank from Harbor Freight, with a Kane Bros 140 CFM blower and industrial grade burner, mixer and zero pressure regulator.  Lining is 2" of high temp blanket with furnace cement and ITC coatings.  Bubble alumina trough will hopefully resist inevitable  flux deposits.  Images uploaded are of the forge in a slightly earlier incarnation, it now has a high alumina brick hearth and I use a similar brick to close down the rather too large opening.  Forge gets up to a good yellow heat, just enough to weld the mild steel I tried without burning it at all (will add pyrometer when I get to final piping, current layout is just for testing).  I used Black Magic Flux and kept my surfaces clean. Still working on the atmosphere mix as even though I had a pretty long reduction flame exiting the opening I still got more scaling than I liked.

Very excited.  Next step Cable Damascus...

Very cool.  Was this forge welded, or did you go for stick? Were you able to keep the ratcheting action functional?

Albert is a visiting professor/instructor up here in Rochester, NY at the School for American Crafts at RIT.  There are a fair number of his larger sculptural pieces around town to check out.  I have attended lectures and met with him several times over the years.  A wonderful, down to earth individual with a lot to say not only about technique, but also inspiration,the creative process, and the business of being a successful craftsperson.  He is very approachable and willing to answer questions.  If you have only seen his architectural ironwork I urge you to check out his early jewelry as well.  It is interesting to see the design progression in his work.  Personally I prefer his earlier ironwork over the more recent "painted ribbons", but that may just be my smithing bias and I'm sure others perspective on the aesthetic differ.  His new sculpture is now up to a monumental scale that probably requires structural engineer's input on wind loading and the like.  Horrible shame about the accident, but he seems to be bearing up pretty well.

Would be great to see him with Mark and Uri.  I'm certain they each have very different perspectives on the craft.

I assumed he did a total of 5 folds: 

a trifold - 3 x 15 layers= 45 layers

a double up - 2 x 45 layers = 90 layers