01.09.2011., četvrtak

Toe Ring Manufacturer TOE RING MANUFACTURER - BRILLIANT CUT DIAMOND ENGAGEMENT RING. manufacturer someone who manufactures something A person or company that makes goods for sale a business engaged in manufacturing some product (manufactured) produced in a large-scale industrial operation toe ring Often worn on one or more toes, toe rings are designed to slip easily on and off the toe. A toe ring is a Ring made out of various metals and non-metals worn on any of the toes. Toe rings are worn by women but is becoming more popular with men. . The second toe of either foot is where they are worn most commonly. In most western countries they are a relatively new fashion accessory. toe ring manufacturer - Potrisers PR12 Potrisers PR12 Invisible Pot Feet, Black, 12-Pack POTRISERS, made from 100-percent recycled material, were designed to be an eco-friendly, indestructible and low profile alternative to decorative pot feet, trays and trivets. While remaining hidden, POTRISERS can be fitted to heavy, pre-planted containers. Rubberized material grips surfaces while providing cushioning on hard or uneven surfaces such as wood, concrete, aggregate, compacted materials or stone. POTRISERS come in both retail and bulk packaging. Designed to protect and hide drip lines, POTRISERS allow for easy cleaning, discourage bug infestation and provide crucial drainage needed for healthy plants. By floating containers off the ground, pots are less likely to freeze and crack in cold temperatures. Stack them to level planters on slopes. Suggested Use: Equally space 4 risers beneath outside edges of pot. If using with a tray - place a set below the tray to prevent water rings or condensation on surfaces, and within the tray beneath the pot to allow the pot to drain freely. POTRISERS have been field tested by the Engineering Laboratory of the University of Washington for strength and field tested for durability. This standard riser, recommended for small to medium pots and statuary, will support up to 1600-pound (per set of 4). 86% (12) Manufacturers Hanover Trust Company Building Midtown Manhattan, New York City, New York, United States of America The Manufacturers Hanover Trust Building (originally the 600 Fifth Avenue Building), built in 1950-52, was the last addition to the Rockefeller Center complex, east of Sixth Avenue, replacing the building of the Collegiate Reformed Church of St. Nicholas. Designed by the firm of Carson & Lundin to complement the original Center Buildings, the building takes the form of a 28-story tower set on an L-shaped seven-story base. In its scale, use of materials, major design details, and setbacks, the architects created a design which is integral with the Rockefeller Center complex. The first major tenant was the Sinclair Oil Co., and the building was known for many years as the Sinclair Building. Rockefeller Center is one of the most important architectural projects ever undertaken in America. It was unprecedented in scope, near visionary in its urban planning, and unequalled for its harmonious integration of architecture, art, and landscaping. The complex grew out of an ill-fated plan to build new midtown quarters for the Metropolitan Opera Company. When the original scheme collapsed, the project was transformed into the private commercial enterprise of John D. Rockefeller, Jr. Construction of the original complex began in 1931 and ended with the completion of the fourteenth building in 1939. When Rockefeller drove home the last rivet in the Rubber Company Building on November 1, 1939, he marked the official completion of the fourteen-unit complex. The structural form of the self-contained city had emerged. Now, said master of ceremonies, Nelson Rockefeller, "The Center really begins." Actually, it had already begun some years prior. Early ridiculed as "Rockefeller's folly," the Center was now celebrated in a Broadway show tune, by hundreds of locals and tourists, as well as by increasingly more appreciative architectural critics. It was the "world of tomorrow, " — one which by 1938 had begun to show its first return on investment Unlike the 14 units in the original complex, the Manufacturers Hanover Trust Building was privately constructed in 1950-52 and purchased by Rockefeller interests only in 1963.[4] It was, however, linked to the Center from the start. Initially the developers of Rockefeller Center had hoped to purchase" the site and thus extend the Center's 48th Street property all the way east to Fifth Avenue, but it was occupied by the Collegiate Reformed Church of St. Nicholas and its wardens preferred to stay put. The church was admired as "a very human thing" by Raymond Hood, and he hoped it would be preserved. It was until 1950. Before that time it provided the Center, at smaller scale, with the same complementary contrast as St. Patrick's Cathedral across Fifth Avenue. With a dwindling midtown congregation, church authorities decided in 1949 to lease the property to the Massachusetts Mutual Life Insurance Company. The latter then leased three contiguous land parcels from Rockefeller and thus pieced together an L-shaped site for the construction of a 28-story tower. As part of the settlement the developers agreed not to block any windows in the nearest Rockefeller building (la Maison Francaise) and to respect its general massing. As a result, the new tower was moved forward to Fifth Avenue where zoning laws required its setbacks to stop at the eleventh floor instead of continuing up to the 18th. The tower was placed atop a seven story block which maintained the low-rise elevations of Rockefeller Center's four international units along Fifth Avenue. In return for these concessions, the new building was connected to the Center's subterranean concourse and given access to sub-basement servicing. The building moreover was the work of Carson & Lundin, the Center's ; resident architects. It was one of two structures which they designed to complement Rockefeller's complex, the other being at 666 Fifth Avenue (1956-57). Robert Carson (1906-1960) and Earl H. Lundin (1900-1975) had established their partnership in 1939, the same year they were appointed the Center's resident architects, succeeding the Associated Architects. Carson, born in Marion, Illinois, and a graduate of the University of Pennsylvania in 1928; joined the firm of Hood, Godley & Fouilhoux. Lundin, a graduate of the University of Michigan, joined the Associated Architects as a job captain in 1930 on the Rockefeller Center project. The firm remained resident architects for the Center until 1957, designing the Esso Building (1946-50), new Warner Communications Building, for which it received the award of the Fifth Avenue Association, the glass walls which opened up the skating rink to the surrounding restaurant, two of the largest studios for NBC, and the offices of the Rockefeller Brothers. The firm specialized in the design of tall office buildings, an outgrowth of their Rockefeller Center Manufacturers Hanover Trust Company Building Midtown Manhattan, New York City, New York, United States The Manufacturers Hanover Trust Building (originally the 600 Fifth Avenue Building), built in 1950-52, was the last addition to the Rockefeller Center complex, east of Sixth Avenue, replacing the building of the Collegiate Reformed Church of St. Nicholas. Designed by the firm of Carson & Lundin to complement the original Center Buildings, the building takes the form of a 28-story tower set on an L-shaped seven-story base. In its scale, use of materials, major design details, and setbacks, the architects created a design which is integral with the Rockefeller Center complex. The first major tenant was the Sinclair Oil Co., and the building was known for many years as the Sinclair Building. Rockefeller Center is one of the most important architectural projects ever undertaken in America. It was unprecedented in scope, near visionary in its urban planning, and unequalled for its harmonious integration of architecture, art, and landscaping. The complex grew out of an ill-fated plan to build new midtown quarters for the Metropolitan Opera Company. When the original scheme collapsed, the project was transformed into the private commercial enterprise of John D. Rockefeller, Jr. Construction of the original complex began in 1931 and ended with the completion of the fourteenth building in 1939. When Rockefeller drove home the last rivet in the Rubber Company Building on November 1, 1939, he marked the official completion of the fourteen-unit complex. The structural form of the self-contained city had emerged. Now, said master of ceremonies, Nelson Rockefeller, "The Center really begins." Actually, it had already begun some years prior. Early ridiculed as "Rockefeller's folly," the Center was now celebrated in a Broadway show tune, by hundreds of locals and tourists, as well as by increasingly more appreciative architectural critics. It was the "world of tomorrow, " — one which by 1938 had begun to show its first return on investment Unlike the 14 units in the original complex, the Manufacturers Hanover Trust Building was privately constructed in 1950-52 and purchased by Rockefeller interests only in 1963.[4] It was, however, linked to the Center from the start. Initially the developers of Rockefeller Center had hoped to purchase" the site and thus extend the Center's 48th Street property all the way east to Fifth Avenue, but it was occupied by the Collegiate Reformed Church of St. Nicholas and its wardens preferred to stay put. The church was admired as "a very human thing" by Raymond Hood, and he hoped it would be preserved. It was until 1950. Before that time it provided the Center, at smaller scale, with the same complementary contrast as St. Patrick's Cathedral across Fifth Avenue. With a dwindling midtown congregation, church authorities decided in 1949 to lease the property to the Massachusetts Mutual Life Insurance Company. The latter then leased three contiguous land parcels from Rockefeller and thus pieced together an L-shaped site for the construction of a 28-story tower. As part of the settlement the developers agreed not to block any windows in the nearest Rockefeller building (la Maison Francaise) and to respect its general massing. As a result, the new tower was moved forward to Fifth Avenue where zoning laws required its setbacks to stop at the eleventh floor instead of continuing up to the 18th. The tower was placed atop a seven story block which maintained the low-rise elevations of Rockefeller Center's four international units along Fifth Avenue. In return for these concessions, the new building was connected to the Center's subterranean concourse and given access to sub-basement servicing. The building moreover was the work of Carson & Lundin, the Center's ; resident architects. It was one of two structures which they designed to complement Rockefeller's complex, the other being at 666 Fifth Avenue (1956-57). Robert Carson (1906-1960) and Earl H. Lundin (1900-1975) had established their partnership in 1939, the same year they were appointed the Center's resident architects, succeeding the Associated Architects. Carson, born in Marion, Illinois, and a graduate of the University of Pennsylvania in 1928; joined the firm of Hood, Godley & Fouilhoux. Lundin, a graduate of the University of Michigan, joined the Associated Architects as a job captain in 1930 on the Rockefeller Center project. The firm remained resident architects for the Center until 1957, designing the Esso Building (1946-50), new Warner Communications Building, for which it received the award of the Fifth Avenue Association, the glass walls which opened up the skating rink to the surrounding restaurant, two of the largest studios for NBC, and the offices of the Rockefeller Brothers. The firm specialized in the design of tall office buildings, an outgrowth of their Rockefeller Center work, in Ne toe ring manufacturer With more than 2300 marks illustrated and brief histories and cross-references of more than 1600 manufacturers, this is the most comprehensive reference source on the subject. To compile the information presented here, the authors devoted much time researching numerous sources. These include various editions of Trademarks of the Jewelry & Kindred Trades, U.S. Patent Office records, silver and jewelry catalogs of manufacturers, rs and retailers, records of companies still in business, and pieces examined in antiques shops all over the country. This fifth edition includes new trademarks, additional companies, and brings to date the many changes in company ownership during the last decade. 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