| dc.coverage.spatial | Site: New York, New York, United States | en_US |
| dc.coverage.temporal | | en_US |
| dc.creator | Hood, Raymond M. | en_US |
| dc.creator | Lawrie, Lee Oskar | en_US |
| dc.creator | Jennewein, Carl Paul | en_US |
| dc.date.accessioned | 2013-12-05T16:05:51Z | |
| dc.date.available | 2013-12-05T16:05:51Z | |
| dc.date.issued | 2013-12-05 | |
| dc.identifier | 241407 | en_US |
| dc.identifier.other | archrefid: 2951 | en_US |
| dc.identifier.uri | http://hdl.handle.net/1721.3/149647 | |
| dc.description | 620 Fifth Ave. Entrance; stone cartouche of the Royal Coat of Arms of the United Kingdom and "Industries of the British Empire" by Jennewein, 1933; To John D. Rockefeller, Jr., the British Empire Building, the Maison Française, and Rockefeller Center itself were “symbols in stone and steel of the common interests… and good will of three great powers.” Both of the foreign buildings were the beneficiaries of a special act of Congress that made the warehouses beneath them “free ports”; that is, goods could be imported, stored, and displayed duty-free, with taxes payable only on sale. | en_US |
| dc.rights | © Scott Gilchrist, Archivision, Inc. | en_US |
| dc.subject | allegory | en_US |
| dc.subject | architecture | en_US |
| dc.subject | business, commerce and trade | en_US |
| dc.subject | international trade | en_US |
| dc.subject | Twentieth century | en_US |
| dc.subject | Art Deco | en_US |
| dc.title | Rockefeller Center; British Empire Building | en_US |
| dc.title.alternative | The British Empire Building | en_US |
| dc.type | image | en_US |
| dc.rights.access | Licensed for educational and research use by the MIT community only | en_US |
| dc.identifier.vendorcode | 1A1-RH-RC-S87 | en_US |
| vra.culturalContext | American | en_US |
| vra.technique | | en_US |
| dc.contributor.display | Carl Paul Jennewein (American sculptor, 1890-1978); Lee Oskar Lawrie (American sculptor, 1877-1961); Raymond M. Hood (American architect, 1881-1934) | en_US |
