AMERICAN EAGLE GOLD PRICE : AMERICAN EAGLE
AMERICAN EAGLE GOLD PRICE : 24 HOUR GOLD SPOT CHART.
American Eagle Gold Price
- American Eagle Airlines is a brand name used by American Eagle Airlines, Inc. (formerly Simmons Airlines), based in Fort Worth, Texas, and Executive Airlines based in San Juan, Puerto Rico, in the operation of passenger air service as regional affiliates of American Airlines.
American Eagle Outfitters is an retailer based in Pittsburgh, Pennsylvania. It was founded in 1977 by Mark and Jerry Silverman as a subsidiary of Retail Ventures, Inc., a company which also owned and operated Silverman's Menswear. The Silvermans sold their ownership interests in 1991.http://www.
bald eagle: a large eagle of North America that has a white head and dark wings and body
- (Gold Pricing) Fidelity's deep discount Gold Level pricing can be applied to the accounts of qualifying investors. To qualify, a household (see Relationship Household) must meet either of the following criteria:
- Of all the precious metals, gold is the most popular as an investment. Investors generally buy gold as a hedge or safe haven against any economic, political, social, or fiat currency crises (including investment market declines, burgeoning national debt, currency failure, inflation, war and
- The gold price is fixed daily at 10.30 a.m and at 3.00 p.m. in London (London gold fixing).
American Surety Company Building
Financial District, Downtown Manhattan, New York City, United States of America
Credited by the noted architectural critic Montgomery Schuyler with popularizing the tripartite column analogy for tall buildings, Price's design for the American Surety Building set a model for tall buildings on corner sites in the 1890s and was a prototype for the freestanding tower skyscrapers of the early twentieth century.
Between 1920 and 1922, as the American Surety Company prospered and expanded, the building was modified with the addition of four bays on Broadway and four bays on Pine Street and by the addition of two penthouse stories. Designed by the talented and inventive New York architect Herman Lee Meader, these additions matched Price's original design in material and articulation.
The American Surety Building is located on a slightly irregular lot which extends 123 feet along Broadway and 125 feet along Pine Street.
The twenty-three story, steel-framed building is faced with gray Maine granite, with terra-cotta facing at the penthouse. The neo-Renaissance design has a tripartite arrangement of stories with a three-story base, a twelve-story mid-section, and a six-story top (with an additional two-story setback penthouse), organized into eleven bays on each facade. The two facades are almost identical in design, except for the sculptural elaboration on Broadway. All the window sash are replacements of single-pane tinted glass below metal transoms, installed when the building was renovated for the Bank of Tokyo in 1973, and set close to the planes of the walls.
Base
Broadway facade.
The three-story base features a double-height Ionic colonnade supporting an entablature with a foliate frieze above the carved inscription "BANK OF TOKYO" accented with applied gold leaf. An open arcade has been created behind the columns. The first-story windows are set back and open onto the arcade, while the second-story windows are set slightly behind the upper portions of the columns.
At the south end of the facade is the entrance to the office floors, set within an overscaled surround surmounted by a stylized pediment containing a helmeted head. The carved inscription over the doorway reads "100 BROADWAY." A bronze transom over the entrance doors is filled with a shield and eagle and a tablet reading "100 BROADWAY." At the third story the windows are flanked by classical sculptured figures, while carved eagles perched on swords and set on rondels, the symbol of American Surety, are placed at the north and south ends. An entablature surmounts the third story, setting off the transitional fourth story.
Pine Street facade. Above a granite water table, two-story piers with anthemion capitals support an entablature which is a continuation of that on the Broadway facade. A service entrance at the east end is set within an over-scaled granite surround with stylized pediment, and has a sign reading "100 BROADWAY" over the doorway. The third-story windows have projecting surrounds linked by foliate spandrels. The entablature surmounting the third story is a continuation of that on the Broadway facade.
Mid-Section
On both facades, the transitional fourth story is topped by a bandcourse. The walls of the mid-section are treated as banded piers and pierced by rectangular window openings which are set off by vertical strips and sill panels decorated with a Greek key pattern or a series of disks. Stylized applied figural sculptures, flanking the fourth and eighth bays, extend from the fourteenth story to the transitional fifteenth story on the Broadway facade. On both facades, the fifteenth story has arched window openings with masks incorporated into the arch spandrels that set off a cornice.
Top
The top section of the building on both facades is articulated by a two-story colonnade composed of Corinthian pilasters which flank window openings; those at the seventeenth story are surmounted by arched pediments. The colonnade is set off by transitional stories above and below, each punctuated by square window openings. This is crowned by a massive projecting stone cornice with foliate modillions.
The setback twentieth and twenty-first stories have openings flanked by piers and topped by a cornice. The southern elevation of these two stories, part of Price's tower scheme, are still partially visible. The two-story penthouse is set back even further; it is topped by its own cornice, crested with a row of anthemia.
- From the 1997 NYCLPC Landmark Designation Report
American Surety Company Building
Financial District, Downtown Manhattan, New York City, New York, United States
Credited by the noted architectural critic Montgomery Schuyler with popularizing the tripartite column analogy for tall buildings, Price's design for the American Surety Building set a model for tall buildings on corner sites in the 1890s and was a prototype for the freestanding tower skyscrapers of the early twentieth century.
Between 1920 and 1922, as the American Surety Company prospered and expanded, the building was modified with the addition of four bays on Broadway and four bays on Pine Street and by the addition of two penthouse stories. Designed by the talented and inventive New York architect Herman Lee Meader, these additions matched Price's original design in material and articulation.
The American Surety Building is located on a slightly irregular lot which extends 123 feet along Broadway and 125 feet along Pine Street.
The twenty-three story, steel-framed building is faced with gray Maine granite, with terra-cotta facing at the penthouse. The neo-Renaissance design has a tripartite arrangement of stories with a three-story base, a twelve-story mid-section, and a six-story top (with an additional two-story setback penthouse), organized into eleven bays on each facade. The two facades are almost identical in design, except for the sculptural elaboration on Broadway. All the window sash are replacements of single-pane tinted glass below metal transoms, installed when the building was renovated for the Bank of Tokyo in 1973, and set close to the planes of the walls.
Base
Broadway facade.
The three-story base features a double-height Ionic colonnade supporting an entablature with a foliate frieze above the carved inscription "BANK OF TOKYO" accented with applied gold leaf. An open arcade has been created behind the columns. The first-story windows are set back and open onto the arcade, while the second-story windows are set slightly behind the upper portions of the columns.
At the south end of the facade is the entrance to the office floors, set within an overscaled surround surmounted by a stylized pediment containing a helmeted head. The carved inscription over the doorway reads "100 BROADWAY." A bronze transom over the entrance doors is filled with a shield and eagle and a tablet reading "100 BROADWAY." At the third story the windows are flanked by classical sculptured figures, while carved eagles perched on swords and set on rondels, the symbol of American Surety, are placed at the north and south ends. An entablature surmounts the third story, setting off the transitional fourth story.
Pine Street facade. Above a granite water table, two-story piers with anthemion capitals support an entablature which is a continuation of that on the Broadway facade. A service entrance at the east end is set within an over-scaled granite surround with stylized pediment, and has a sign reading "100 BROADWAY" over the doorway. The third-story windows have projecting surrounds linked by foliate spandrels. The entablature surmounting the third story is a continuation of that on the Broadway facade.
Mid-Section
On both facades, the transitional fourth story is topped by a bandcourse. The walls of the mid-section are treated as banded piers and pierced by rectangular window openings which are set off by vertical strips and sill panels decorated with a Greek key pattern or a series of disks. Stylized applied figural sculptures, flanking the fourth and eighth bays, extend from the fourteenth story to the transitional fifteenth story on the Broadway facade. On both facades, the fifteenth story has arched window openings with masks incorporated into the arch spandrels that set off a cornice.
Top
The top section of the building on both facades is articulated by a two-story colonnade composed of Corinthian pilasters which flank window openings; those at the seventeenth story are surmounted by arched pediments. The colonnade is set off by transitional stories above and below, each punctuated by square window openings. This is crowned by a massive projecting stone cornice with foliate modillions.
The setback twentieth and twenty-first stories have openings flanked by piers and topped by a cornice. The southern elevation of these two stories, part of Price's tower scheme, are still partially visible. The two-story penthouse is set back even further; it is topped by its own cornice, crested with a row of anthemia.
- From the 1997 NYCLPC Landmark Designation Report
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