Two sanctified, stone-covered springs nearby feed a stream that is believed to hold powers of purification and flows through the buffer zone surrounding the royal city. Their water was used to form the sacred lake of Amparihy, artificially created by at least the 18th century to provide water to fill two ceremonial pools constructed within the Ambohimanga compound. Oral history attributes the creation of the lake to Andrianampoinimerina. He reportedly engaged the labor of surrounding villagers to dig the lake at the site of the spring-fed swamp at the base of the hill. Before initially filling the lake with water carried in baked earthen jars from the sacred sites of Alasora, Antsahatsiroa and Anosibe, the lake's creation was sanctified by sacrificing zebu at the site; Andrianampoinimerina is also said to have thrown pearls and silver rings into the lake to inaugurate it.
The forest at Ambohimanga benefited from customary protection and today represents the largest of the last remaining fragments of primary forest that formerly covered the highlands. It contains a representative assortment of native tree and plant species, in particular the endemic tree zahana (phyllarthron madagascariensis) and a variety of indigenous medicinal plants, many possessing traditional or spiritual importance. Examples include the native bush Anthocleista, traditionally believed to attract lightning and often planted in clusters beside villages; the Dracaena plant, traditionally used for hedges and planted at sacred sites in valleys or other natural features where people would come to communicate with ancestral spirits; and the Phyllarthron vine, which was planted in sacred thickets and harvested for its wood, which was traditionally used to fashion handles for diverse tools. The recent and growing presence of two foreign species (golden bamboo and lantana) threaten the integrity of the site's ecosystem. The local management authority is currently engaged in activities to eradicate the encroaching vegetation.


The villages surrounding the royal city date back to at least the 16th century, when the valleys around Ambohimanga hill were first transformed into rice paddies. Following the establishment of a royal city on the hilltop, successive rulers put in place regulations to govern the development of these villages and manage the subjects inhabiting them. Under Andrianampoinimerina, quotas established a set number of houses for members of influential clans in designated neighborhoods around the hill. This king also established rules to improve sanitation, including standards of cleanliness in domestic courtyards and the quarantine of people suffering from certain illnesses. Ranavalona I specified the physical characteristics of newly constructed houses, including their size and decorative features. In 1862 Radama II gave permission to a group of Christians to negotiate with Tsimahafotsy elders to construct the village's first church, but the Tsimahafotsy initially rejected the request. The king's successor, Queen Rasoherina, later requested the Christians not to gather indoors for services at Ambohimanga in honor of the sanctity of the ancestors. The court was Christianized by Ranavalona II in 1869, and a small chapel was built outside the city's eastern gate, but a permanent church at Ambohimanga was not built until 1883. Following a fire that occurred in 1870 during a visit of Ranavalona II to Ambohimanga, the queen decreed that houses in the village could be constructed in brick, a material previously reserved for tomb and wall construction. A series of ancestral fady (taboos) decreed by Andrianampoinimerina continue to apply in the village, and include prohibitions against corn, pumpkins, pigs, onions, hedgehogs and snails; the use of reeds for cooking; and the cutting or collecting of wood from the sacred forests on the hill.


The compound originally housed twelve royal tombs constructed in the style of Merina nobles, with a stone crypt topped by a small, windowless wooden house (tranomasina) indicative of aristocratic rank. The peaks of these tombs were aligned from north to south. Sovereigns originally buried in the four largest tombs, situated to the north of the others, included Andriantsimitoviaminiandriana, Andriambelomasina, Andriampoinimerina, Ranavalona I and Ranavalona II, while the wives and relatives of sovereigns were buried in the smaller tombs.  According to oral histories, at its 19th-century peak the Ambohimanga compound contained 12 tombs.
The tranomasina were destroyed in March 1897 by French authorities who removed the bodies of the sovereigns interred here and relocated them to the royal tombs at the Rova of Antananarivo. The rich collection of funerary objects enclosed within the tombs was also removed for display in the Manjakamiadana palace on the Antananarivo rova grounds, which the Colonial Authority transformed into an ethnological museum. This was done in an effort to desanctify the city of Ambohimanga and break the spirit of the Menalamba resistance fighters who had been rebelling against French colonization for the past year, break popular belief in the power of the royal ancestors, and relegate Malagasy sovereignty under the Merina rulers to a relic of an unenlightened past. A French garrison was housed within the royal city and military buildings were erected on top of the stone tomb foundations. A kitchen and military canteen were built on top of the tombs of Andrianampoinimerina and Andriamasinavalona. By 1904, the military buildings were likewise demolished, leaving the stone tomb foundations intact.
The desecration of the two most sacred sites of Merina royalty represented a calculated political move intended to establish the political and cultural superiority of the French colonial power. In the popular view, the link between Ambohimanga and the ancestors (Andrianampoinimerina in particular) rendered the royal city an even more potent symbol and source of legitimate power than the capital of Antananarivo, which was seen as having become a locus of corrupt politics and deviance from ancestral tradition. Believing that the presence of the ancestors within the tombs sanctified the earth upon which the rova was built, Menalamba resistance fighters would come to Ambohimanga to collect handfuls of dirt from the base of the tombs to carry with them in their offensives against the French; the French authority intended by the removal of the sovereigns' bodies from the tombs to undermine the fighters' confidence and solidarity. Although the tombs were desecrated and the Menalamba fighters were ultimately defeated, Ambohimanga has retained its sacred character. The royal tombs were reconstructed in 2008 by the government of Madagascar under the Ravalomanana administration. During the 1995 fire that destroyed the tombs and other structures at the Rova of Antananarivo, the lamba-wrapped remains of only one sovereign—Ranavalona III—could be saved from the flames. The queen has since been re-interred in the royal tombs at Ambohimanga.


A popular tourist destination, Ambohimanga received 97,847 visitors in 2011. Visitors to the World Heritage Site are charged a fee (10,000 ariary for foreigners and 400 ariary for locals), which is largely used to pay for the preservation of the site. The commune of Ambohimanga Rova is a small but thriving rural village that lives on agriculture and services provided to tourists and pilgrims who visit the royal city. Multilingual tour guides can be hired at the site to provide detailed descriptions of its features and history. Photographs are permitted outdoors but prohibited inside the historic buildings. Tourism has been negatively affected at the site as a consequence of the 2009 Malagasy political crisis; management of the site has also been hampered by political instability and reduced revenues since 2009.
The extent of the area currently classified a World Heritage Site was under restricted access and protection during the imperial era and has been under some form of legal recognition and protection since French colonization, having been incorporated into the Colony Domains Service in 1897 and the National Inventory in 1939. It has since benefited from legal municipal protection and two national laws (passed in 1982 and 1983) protecting sites of historical and national interest. The Office of the Cultural Site of Ambohimanga (OSCAR), created by the Ministry of Culture, has managed the site and its entrance fees and state subventions since 2006, when a five-year management plan was developed for implementation by the group's 30 employees. These management and conservation activities are conducted in cooperation with the local population within the Rural Commune of Ambohimanga Rova. The Village Committee, comprising representatives of all the adjacent quarters and the local community, are also involved in the protection of the site. Conservation of Ambohimanga is further supported by a private association, Mamelomaso, which has also been active in campaigning for awareness and protection of cultural heritage and has contributed to the preservation of numerous other sites of cultural and historic significance in the highlands. In addition to helping replant the Ambohimanga woodlands, Mamelomaso has contributed to the restoration of the stones around the source of the spring, erected informational plaques around the hill, and paved a number of footpaths within the site. UNESCO contributed special financial support to restore historic structures at Ambohimanga threatened by exceptionally heavy rainfall and landslides.
Ambohimanga has been viewed by many Merina since the late 19th century as the embodiment of an ideal social order blessed by the ancestors. The significance attached to the site in Imerina increased further when its sister rova in Antananarivo was destroyed by fire in 1995, contributing to a sense that Ambohimanga was the last remaining physical link to this sanctified past. A small intellectual elite among the Tsimahafotsy clan of Ambohimanga and the nobles (andriana) believe that only Ambohimanga possesses the ancestral benediction (hasina) to serve as the national capital and imbue national leaders with the legitimacy and wisdom needed to rightly govern the country. The descendants of the andriana have consequently been key in promoting and protecting Ambohimanga, such as by playing a significant role in successfully lobbying UNESCO to list Ambohimanga as a World Heritage Site.
Despite these measures, the conservation of Ambohimanga is challenged by human and natural factors. The rapidly growing but relatively impoverished population around Ambohimanga occasionally engages in illegal harvesting of plants and trees from the surrounding forests, threatening the integrity of the natural environment. The forests and wooden structures on the site are also susceptible to fire. Following the 1995 destruction by fire of Ambohimanga's sister rova at Antananarivo, widely believed to have been a politically motivated arson, rumors have circulated that Ambohimanga could suffer a similar fate. Cyclone Giovanna, which passed over Madagascar in February 2012, caused considerable damage at the site. The wooden shingles of Andrianampoinimerina's house were torn off by the wind, exposing the historic objects inside to damage from the elements. The wooden fence surrounding the Mahandrihono compound was also badly damaged. Worst affected are the plants and trees at the site. Large swaths of endemic medicinal plants and trees in the forest were destroyed. Many of the sacred trees shading the royal city were uprooted, including sacred fig trees around the Fidasiana courtyard and inside the zebu pen. Two of the uprooted trees were of particular symbolic significance, having served as physical anchors for certain royal rituals since the 17th century. Shortly after the storm, OSCAR unveiled plans to plant a substitute fig for the uprooted one that had shaded the sacred stone in the Fidasiana courtyard. Most of the historic jacarandas planted over a century ago under French colonial rule were also destroyed. The extent of damage to the site has prompted traditionalists to demand renewed respect for the sanctity of the site by requesting adherence to traditional taboos put in place by Merina monarchs. These include banning pigs at the site, as well as the consumption of pork, tobacco, alcohol and cannabis on the grounds of the royal city.


The structure's contemporary architecture draws on ancient and natural themes. The domes are inspired by the shells of tortoises and by soap bubbles. The mosaic tiles on the roof are similar to those found on the roofs of the Jain temples at Girnar, and the mosaic snake is from Hindu mythology. The Buddhist caves of Ajanta and Ellora inspired Doshi to design the interior with circles and ellipses, while Husain's wall paintings are inspired by Paleolithic cave art. The interior is divided by tree trunks or columns similar to those found at Stonehenge.


While visiting Ahmedabad, Husain asked his friend Doshi to design a permanent art gallery for the exhibition of his works. Together they planned an underground structure capable of withstanding the area's severe summer heat.
Computer-assisted planning facilities were used to resolve the structure's unorthodox design. A simple floor of wire mesh and mortar was used instead of a traditional foundation. All the structure's components are self-supporting, relieving stress by their ubiquitous continuity. Ferrocement, only one inch thick, was used for the undulating walls and domes in order to reduce load. The cave was constructed by unskilled tribal labourers using only hand tools. Broken ceramic crockery and waste tiles were used to cover the domes' exterior, which bears a transversal mosaic of a snake.
Work was carried out in two phases: the first was the construction of the main cave as an underground art gallery, while the second covered the surrounding structures including the paving, the café, and a separate art gallery for exhibitions.


Amelia Cathedral (Italian: Duomo di Amelia, Cattedrale di Santa Firmina) is a Roman Catholic cathedral in Amelia in the province of Terni, Umbria, Italy. It was formerly the seat of the Bishop of Amelia, in existence from not later than the 5th century, but since 1983 has been a co-cathedral in the Diocese of Terni-Narni-Amelia.

Amelia Cathedral, dedicated to Saint Firmina, was built originally in 872. That building was destroyed by the troops of Emperor Frederick II in the 13th century, and was rebuilt in Gothic style. That building too was destroyed, by a fire in 1629, and was reconstructed in Baroque form. The present façade of pink cotto was completed only in the 19th century, after a destructive earthquake in 1822.
The cathedral has a Latin cross groundplan and a single nave. The relics of Saints Firmina and Olimpiade, the patron saints of the city, are preserved here. In a side-chapel are two Turkish banners captured at the Battle of Lepanto in 1571.
A number of notable works of art are housed here, including a depiction of the Last Supper (1538) painted by Giovanni Francesco Perini, the tomb of the Geraldini (1476) by Agostino di Duccio, a Madonna and Child attributed to Antoniazzo Romano, the Chapel of the Farattini containing among other items the funerary monument of Baldo Farrattini (bishop of Amelia 1558-62) by Ippolito Scalza, and works by Niccolò Circignani, Federico or Taddeo Zuccari, and a modern copy of the stolen original of a "Martyrdom of Saint Firmina" by Lavinia Fontana. There is also an organ from 1600.
The campanile of the cathedral was erected in 1050 using fragments of Roman buildings.


Amelungsborn Abbey, also Amelunxborn Abbey (Kloster Amelungsborn), is a Lutheran monastery in Germany. It is located near Negenborn and Stadtoldendorf, in the Landkreis of Holzminden in the Weserbergland. It was the second oldest Cistercian foundation in Lower Saxony, Germany, after Walkenried Abbey. It survived the Reformation by becoming Lutheran, and with Loccum Abbey, also previously Cistercian, is one of the only two Lutheran monasteries in Germany with an uninterrupted tradition.
The abbey church, St. Mary's, is also the parish church of the abbey's former estate villages Negenborn and Holenberg.


The new monastery prospered and was soon able to extend the settlements of the order. As early as 1138 a monk of Amelungsborn was appointed abbot of Mariental Abbey near Helmstedt. In 1145 Amelungsborn provided the entire community (12 monks and an abbot) for the foundation of Riddagshausen Abbey near Braunschweig, of which it was thus the mother house.
Amelungsborn was also the mother house of the rich and powerful Doberan Abbey (in the present Bad Doberan near Rostock), in 1171 and again in 1176, at the instigation of the missionary bishop Berno, once a monk of Amelungsborn, who in 1155 became Bishop of Mecklenburg and when in 1160 the seat of the bishopric was moved, the first Bishop of Schwerin.
Further foundations at one remove were at Isenhagen-Marienrode near Wittingen and Wahlshausen near Fuldatal, daughter houses of Riddagshausen, and Dargun Abbey and Pelplin Abbey, daughter houses of Doberan. Amelungsborn became the richest monastery of the Welf sphere of influence, and the one most closely connected with the German colonisation to the east. By about 1280 the community numbered 50 monks and 90 lay-brothers.
Even after the alienation of their Mecklenburg estates, principally round Satow and Dranse, in the 14th century, Amelungsborn Abbey remained an extensive landowner, thanks largely to the generosity of the Edelherren of Homburg, successors of the founder, and the Counts of Everstein, who gave many estates between the Weser and Leine, among them lands at Allersheim near Holzminden, Schnedinghausen near Moringen, Erzhausen, Bruchhof and Holtershausen near Greene, besides possessions in the towns of Einbeck, Höxter and Hameln, and forests near the abbey itself.


The American–German Colony was founded in the 19th century by the American Protestant, Christian Restorationism movement, led by George J. Adams and Abraham McKenzie. They and more colonists from Maine had arrived on 22 September 1866 in Jaffa. They founded the American Colony, named Amelican (آمليكاث) in Arabic, or Adams City in English. They erected their wooden houses from prefabricated pieces, which they had brought with them. However, diseases, the climate, and the insecure and arbitrary treatment by the Ottoman authorities, made many colonists willing to remigrate to Maine.
In 1867 and 1868 the German Peter Martin Metzler, then leading a Protestant mission in Jaffa for the Swiss St. Chrischona Pilgrims Mission, helped the American colonists to sell their real estate, also buying himself much of it. On 5 March 1869 Metzler sold many of the houses on to newly arriving settlers from Württemberg. In 1861 these settlers, led by Georg David Hardegg (*1812–1879*) and Christoph Hoffmann had founded their own Christian denomination, the Temple Society. According to their faith the Templers wished to redeem the Holy Land by an active industrious lifestyle, understood by the Templers to be the symbolic reconstruction of the Temple.
However, in June 1874 the Temple denomination had undergone a schism. Temple leader Hardegg and about a third of the Templers seceded from the Temple Society, after personal and substantial quarrels with the other leader Christoph Hoffmann. In 1889 apostatised former Templers, Protestant Swiss and German expatriates, like Plato von Ustinov, and domestic and foreign proselytes gained earlier by Metzler constituted an Evangelical Protestant congregation. Most of its parishioners lived in the colony earning it the name German Colony or Deutsche Kolonie. In 1904 the congregation built its Immanuel Church in the colony. On 17 November 1917 British forces conquered Jaffa and the colony, and most of the male inhabitants of the colony, holding German citizenship, were deported with German prisoners of war to Sidi Bishr and other places in Egypt, later a part of them were sent in 1920 to Bad Mergentheim in Germany In July 1918 women, elderly and children were deported too for two years, under police supervision, to the "Al Hayat" Hotel-Sanatorium in Helwan in Egypt. Enemy alien property was taken into public custody under Edward Keith-Roach, the Public Custodian of Enemy Property. The men were released after the Treaty of Versailles became effective on 10 January 1920. After the Treaty of Lausanne, by which Turkey accepted the British mandate of Palestine, had been ratified on 5 August 1925, the public custody was lifted and the property restituted.
After the start of World War II the German colonists were again interned by the British authorities as the citizens of an enemy state in May 1940, and, after internment in Wilhelma, re-settled in Germany and Australia between 1941 and 1948. Enemy alien property came again into public custody under Keith-Roach. The vacant Immanuel Church was subsequently used by the CMJ until the British retreat in 1947. After the foundation of Israel its government took over the enemy alien property in its own custody. In January 1950 the state of Israel expropriated secular German enemy alien property in its own favour in anticipation of a future agreement with Germany on compensations for claims of Israeli citizens against Germany. In the course of the Reparations Agreement between Israel and West Germany both states agreed on the compensation of the expropriated secular property of then German citizens (Property Agreement finally mediated on 1 June 1962 by Max Sørensen). Whereas the buildings of religious usage, like Immanuel Church and its rectory, had remained in public custody and had been handed over to the Lutheran World Federation in 1951 after an agreement of September of that year regulating Israel's compensation of expropriated Protestant religious property of secular purposes, such as schools, farms, factories etc., and the restitution of actual places of worship, cemeteries etc. to Protestant religious bodies. In following years the area gradually suffered neglect, but later came to be re-developed or restored, including by a small number of American Christian restorationists, some of them family descendants from the original Maine community. As with the Neve Tzedek area in general, it is now a middle-class part of Tel Aviv. It is located between Florentin and old Jaffa. It is centered mainly around the Auerbach and Beer-Hofmann streets.


Principal design work was carried out by the Driehaus Prize winner and New Classical architect David M. Schwarz of Washington D.C. American Airlines Center was designed to be the heart of a new urban, commercial area designed to reinvigorate the city of Dallas called Victory Park. The facility itself features a conservative, traditional design with sweeping brick façades and smooth arches. The interior includes retractable seating, public art and a technological arena. Because of the Quonset hut-like appearance of its roof and the fact that American Airlines holds the naming rights some fans have come to refer to it as "The Hangar".


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The American Bank Note Company Building is a five-story building at 70 Broad Street in the Financial District of Manhattan in New York City. The building was designed by architects Kirby, Petit & Green in the neo-classical style, and contains almost 20,000 square feet (1,900 m²) of space, with offices and residences on the upper floors. The exterior consists of a main facade on Broad Street with two columns, as well as side facades with pilasters on Beaver and Marketfield Streets.
The building was erected in 1908 as the home of the American Bank Note Company, a leading engraving company that produced banknotes, currency, stamps, and stock certificates. The company had previously occupied several other sites in Lower Manhattan, and had a printing plant in the Bronx. After the company sold the American Bank Note Company Building in 1988, it was sold to numerous owners, and renovated into offices and residences. The American Bank Note Company Building is a New York City designated landmark and listed on the National Register of Historic Places (NRHP). It is also a contributing property to the Wall Street Historic District, a NRHP district created in 2007.


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The building is a neoclassical five-story structure with nearly 20,000 square feet (1,900 m²) of space. It contains office space and luxury apartments on the upper floors. It was designed by architects Kirby, Petit & Green, who based their design on their earlier structure for the Bush Terminal Company at 100 Broad Street. Hedden Construction Company was the general contractor and Charles H. Nichols was the consulting engineer. The American Bank Note Company Building is one of several "hybrid" bank buildings erected in the early 20th century with both banking quarters and executive offices.


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The American Bank Note Company, a leading engraving company and the building's namesake, produced banknotes, currency, stamps, and stock certificates. It had been formed from a merger of seven firms in 1858. The company's first headquarters and plant were at 55 Wall Street, where in 1862 it created a factory in the penthouse. In 1867, the company moved to 142 Broadway, near the intersection with Liberty Street. It moved again to 78–86 Trinity Place in 1882. Subsequently, the company began to grow its operations, establishing other factories in Canada and the U.S., as well as expanding its product offerings.
In the 1900s, under company president Warren L. Green, the company began looking for a new headquarters. The company purchased the lots at 70–72 Broad Street in May 1906. The new building at that site, erected to plans by Kirby, Petit, and Green, was completed two years later.  The company also bought lots upon which it would construct the American Bank Note Company Printing Plant in the Bronx; Kirby, Petit, and Green also designed this plant, which was built from 1909 to 1911, and served as the company's printing plant until the 1960s. With these two facilities, the company was able to streamline its New York City operations.
The American Bank Note Company housed its administrative offices in the building until 1988, when the offices were moved to Blauvelt, New York. The building was then sold to the Bank of Tokyo. It was then bought by Murray and Irvin Reise for $3.5 million. The Reise brothers planned to turn the building into a "department store restaurant", with four fast-food restaurants at ground level, fast-food seating in the basement, and a larger restaurant occupying the second and third floors, as well as a kitchen on the fourth and fifth floors. The building was sold again in 1995 to Tony Goldman for $1.3 million. Goldman opened a restaurant on the lower floors and moved the offices for his company, Goldman Properties, onto the upper floors. The building was given New York City landmark status in 1997, and was added to the National Register of Historic Places (NRHP) two years later. In 2007, it was designated as a contributing property to the Wall Street Historic District, a NRHP district.
The American Bank Note Company Building was purchased for $5.5 million in 2004 by Maharishi Mahesh Yogi's organization, the Global Country of World Peace (GCWP). The organization supposedly bought the structure because it was "one of the very few buildings in all of New York City that's oriented due east", and east-facing buildings were considered "spiritually healthy" under the Maharishi's principles.  The building  underwent $4.9 million in renovations, and the GCWP used the upper floors as apartments and the lower floors as lecture and meditation rooms. The American Bank Note Company Building was then put up for sale yet again in late 2009; it was originally listed as a mansion for sale at $45 million, though the asking price was then reduced to $25 million. Ultimately, it was sold to an unnamed Chinese construction and investment company in 2010 for $18 million. The structure was then renovated again in 2015 and placed for sale the next year for $88 million in 2016. The building was listed for sale again in 2018 for $43 million.


The American Church continues to minister to many Anglophone Protestants in Paris, with multicultural programming, and a congregation coming from some 40 nations and 35 Christian denominations.
The church is led in worship by the senior pastor, associate pastor, youth pastor and a retired guest pastor who handles weddings. Its staff is also diverse in terms of background and denomination. It is run by a church council represented by a committee of ministries namely: Communications, Community Life, Christian Education, Development and Property, Finance and Stewardship, Human Resources, Membership and Evangelism, Mission Outreach, and Worship and Music.  The building hosts two bilingual nursery schools, a variety of Twelve-step program recovery groups, fitness classes, kung fu, basketball leagues, a free concert series, and an ad board for housing and job opportunities. Many more community-based services are housed in the church building.
The closest métro station is Invalides


The site the two towers occupy was originally a 6.4-acre (2.6 ha) lot that hosted a Consolidated Edison power plant. When the lot was owned by Sheldon Solow, the plant was razed, and Solow paid to have the land cleaned. He later sold the plot to JDS and Largo in 2013 for $172 million. JDS and Largo secured a loan from Cornerstone Real Estate Advisors to purchase the land. Solow's plans for the site involved a seven-tower, $4 billion complex designed by Skidmore, Owings & Merrill. The SOM plan would also have included a park and a public school, as well as an adjacent public space designed by American architect Richard Meier. Following a ULURP, Solow changed his plans to a twin-tower structure, which JDS followed per the zoning, although with a new architect. JDS executives were attracted to the lot in part due to the waterfront location and proximity to the United Nations and Langone Medical Center.
Construction began on the site in mid-2014, and the copper cladding was first applied in mid-2015. The west and east towers topped out in late 2015 and early 2016, respectively, and installation of the skybridge between the two towers began in January 2016. The official name of the towers - The American Copper Buildings - was released in April 2016 as the property launched initial leasing efforts. In December 2016, the project received a $500 million senior mortgage from American International Group along with a $160 million mezzanine loan from Apollo Global Management and SL Green Realty.
The two separate structures opened in phases for renters, with American Copper West opening in April 2017 and American Copper East in late 2018. A cafe called Hole in the Wall opened in the base of the east tower in June 2019.


JDS and Baupost entered into contract to sell the property to investor Black Spruce Management in December 2021. The sale price was approximately $850 million. The high price has been interpreted as indicative of broader investor confidence in the recovery of New York City despite the ongoing COVID-19 pandemic.


The project has been praised by architecture critics for moving away from all glass design to embrace texture, depth, and character.
Best Tall Building – Americas, 2018, Council for Tall Buildings and Urban Habitat Tall Buildings Awards.
ASLA-NY 2019 Awards for the First Avenue Water Plaza, category General Landscape Architecture Design, to SCAPE Landscape Architecture.


Decades after American Gothic was regarded as an American icon, the house continued to serve as a private residence, usually for rent, transferring ownership only once more from the Jones family to the Seldon Smith family at a "distress sale" in 1942. A grassroots movement to preserve the house was started as early as 1945 by Nan Wood, Grant Wood's sister and the female figure depicted in American Gothic. A visit in 1960 to the house (which was beginning to fall into disrepair) by Des Moines architect and historian William J. Wagner, A.I.A. capped these early efforts. He was among the first to suggest preservation of the house as a historic site:
In the early 1970s, a series of letters between Eldon businessmen and Carl E. Smith—who has recently inherited the house—revealed differing opinions on its continued use: Smith wanted to renovate the house and protect it from vandalism only; the Eldon leaders were more in favor of making the house an historic site. The house was abandoned for much of the 1970s—a bullet was fired in an upstairs bedroom; weather and vandalism took their toll as well. Only in the late 1980s did the owner of the property consider turning the house over to the state. Indeed, many southern Iowans were conflicted on the issue—the owner wanted to keep the house only because he believed the current renters would have nowhere else to go if they were forced to leave.
After the home was placed on the National Register of Historic Places in 1974 (the result of an application by an Eldon farmer), the owner refurbished the house, installing an indoor bathroom and electricity and restoring the windows and wallpaper. Local politicians believed such work coupled with a new museum and education center could provide a major boost to local tourism—one state senator hoped for as many as 100,000 visitors per year. After the house's owner eventually turned over the property to the State Historical Society of Iowa in 1991, an effort was made to move the house to Living History Farms outside Des Moines, but Eldonians fought to keep it within their city limits. The house was renovated in 1992, with boosters hoping to see the house become a pop-culture tourism attraction, much like the Field of Dreams site in similarly rural Dyersville. Today the American Gothic House Center hosts approximately 15,000 visitors per year, which does not account for additional after-hours visitors.
Visitors are encouraged to view the house from the outside and have their photo taken—in fact, the visitors center provides many sizes of similar aprons and jackets worn by the original painting's models. The adjacent American Gothic House Center, completed in 2007, contains exhibits about the painting, artist Grant Wood, and the community around the house. Each June, the city of Eldon holds its Gothic Days festival, a celebration of the painting and rural life in Eldon in the 1930s. Starting in 2015, tours began of the first floor of the home.


The American Ice Company is a historic ice manufacturing plant located at 2100 West Franklin Street in Baltimore, Maryland, United States.  It is a large industrial brick building  designed by Mortimer & Company and constructed by Fidelity Construction in 1910-11  for the American Ice Company, a business that manufactured and delivered ice throughout the Mid-Atlantic and South. The building is two stories, with the brick laid in American bond, and is 21 bays long.  Three of those bays at one end of the building are slightly projected and topped by a stepped parapet, forming the entrance area of the building.
Baltimore American Ice, which had acquired American Ice in the 1960s, had switched mainly to the production of bagged ice for businesses and dry ice for industrial clients by the 1980s.
A two-alarm fire at Baltimore American Ice heavily damaged the rear of the facility in May 2001, and in early 2004, Baltimore American Ice closed the West Franklin Street factory. A more extensive fire that destroyed the more recent additions to the dry ice plant and caused severe damage to a corner of the original circa 1911 factory occurred on March 2, 2004.
The building was listed on the National Register of Historic Places in 2013. Partial demolition and construction of a new mixed-use event space, restaurant, concert venue, artist incubator, and community facility began in July 2019, with projected completion by Summer 2020.


The legation is an elaborate Moorish-style building of stuccoed masonry.  This complex structure contains the two-story mud and stone building presented to the United States in 1821 by Sultan Moulay Suliman. The first property acquired abroad by the United States government, it housed the United States Legation and Consulate for 140 years, the longest period any building abroad has been occupied as a United States diplomatic post. It is symbolic of the 1786 Moroccan–American Treaty of Friendship, which is still in force today. The complex expanded over the years as the surrounding houses were bought up. During World War II it served as headquarters for United States intelligence agents.
After the move to Rabat as the diplomatic capital in 1956, when the country gained its independence, the Legation was abandoned as a diplomatic building. Over the years the United States government proceeded to use it as consul offices and Peace Corps offices, among other things. In time it became neglected and threatened with demolition.


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Opened on December 31, 1962, the bridge was originally named the "Cabin John Bridge" because of its proximity to the community of Cabin John on the Maryland side of the Potomac River. The bridge opened without a ceremony due to the cold weather. On May 30, 1969, the bridge was officially renamed the "American Legion Memorial Bridge" in a ceremony led by Lt. Gen. Lewis B. Hershey, director of the U.S. Selective Service System. This action reduced confusion with the Union Arch Bridge, which carries the Washington Aqueduct and MacArthur Boulevard across Cabin John Creek and which some people also called "the Cabin John Bridge". The bridge was widened from its original 6-lane configuration to the current 10-lane version by 1992 via a third span filling the median between what was originally two separate spans.
The American Legion Memorial Bridge is an important commuter route because of its proximity to edge cities and high tech centers in Maryland and Virginia. It is the only high volume crossing between Montgomery County, Maryland and Fairfax County, Virginia, the most populous counties in their respective states.  It is also the only major crossing between Maryland and Virginia between the Point of Rocks Bridge, more than 30 miles (50 km) upstream and the Chain Bridge downstream between the Commonwealth of Virginia and the District of Columbia. Congestion on the American Legion Bridge and commuter travel between the western Washington suburbs in both states has fueled support for a western bridge around the Loudoun County/Fairfax County line in Virginia (Virginia Route 28/Fairfax County Parkway area), or farther out as part of the Western Transportation Corridor. Opponents claim that another bridge would increase development in those areas, increase traffic, and generate more pollution in the Chesapeake Bay.
The bridge crosses the western terminus of the Potomac Heritage Trail and the George Washington Memorial Parkway on the Virginian side of the Potomac River. On the Maryland side, the bridge crosses over MacArthur Boulevard, the Clara Barton Parkway and the Chesapeake and Ohio Canal. Lock 13 (Seven Locks 6) of the canal is underneath the bridge.
The American Legion Memorial Bridge is one of the two locations at which the Capital Beltway crosses the Potomac River; the other is the Woodrow Wilson Memorial Bridge.


American Queen is said to be the largest river steamboat ever built. The ship was built in 1995 and is a six-deck recreation of a classic Mississippi riverboat, built by McDermott Shipyard for the Delta Queen Steamboat Company. Although the American Queen's stern paddlewheel is indeed powered by a steam plant, her secondary propulsion, in case of an emergency and for maneuverability around tight areas where the paddle wheel can not navigate, comes from a set of diesel-electric propellers known as Z-drives on either side of the sternwheel. She has 222 state rooms for a capacity of 436 guests and a crew of 160. She is 418 feet (127 m) long and 89 feet (27 m) wide.
The Str. American Queen was retired to the reserve fleet in Violet, Louisiana, on 20 November 2008.  Due to the failure of Majestic America Line (her owner) she was returned to the United States Maritime Administration (MARAD) who held her $30 million mortgage.  The U.S. Department of Transportation Maritime Administration records the ship's movement to the Beaumont Reserve Fleet on January 22, 2009.   As of April 2011 American Queen is under contract for $15.5 million to HMS Global Maritime, based in New Albany, Indiana.  Based on the August, 2011 U.S. Department of Transportation Maritime Administration inventory, the ship was sold on August 2, 2009, and departed the Beaumont Reserve Fleet for Memphis, Tennessee.  The new operator, The American Queen Steamboat Company, announced plans to return her to Mississippi River service from a port in Memphis, Tennessee.  She rejoined her fellow sternwheeler steamboats Natchez, Chautauqua Belle, Minne-Ha-Ha, and the Belle of Louisville. She is currently in service.
In 2012 the American Queen participated for the first time in the Great Steamboat Race. She came in second place.
The American Queen Steamboat is a member of Historic Hotels of America, the official program of the National Trust for Historic Preservation.
In 2013 American Queen was fully refurbished and expansions were made to her dining areas and public venues.


The American Queen has health and wellness facilities that include a spa with masseuse located on main deck and a gym and pool located between the fifth and sixth decks. For dining, the vessel offers formal dining in the J.M. White Dining Room located on main deck and a casual, 24-hour dining option called the Front Porch Cafe located on Deck 3. There is also the River Grill & Bar which is an outdoor bar on Deck 5 that offers drinks and cookout-style food during good weather. There are also several entertainment venues including the Grand Saloon - a stage theater modeled after Ford's Theatre. Other entertainment options include a movie theater on Deck 3, musical performances in the Engine Room Bar on Deck 2 and numerous card games and reading materials in the Gentlemen's Card Room, Ladies' Parlor, Mark Twain Gallery and Chart Room.


In 2007, American Queen was the subject of an episode of the Discovery Channel TV series Superships, and is available to view on digital download platforms such as iTunes and Amazon Prime Video.
In 2009, American Queen was featured in an episode of Little People, Big World in which the Roloff family took a cruise aboard the vessel.
In 2018, American Queen was featured in an episode of Cruising with Jane McDonald. The show followed British singer Jane McDonald on a cruise aboard the American Queen from New Orleans to Memphis.


The American Radiator Building (also known as the American Standard Building) is an early skyscraper at 40 West 40th Street, just south of Bryant Park, in the Midtown Manhattan neighborhood of New York City. It was designed by Raymond Hood and André Fouilhoux in the Gothic and Art Deco styles for the American Radiator Company. The original section of the American Radiator Building, a 338 ft-tall (103 m), 23-story tower, was completed in 1924. A five-story annex, to the west of the original tower, was built from 1936 to 1937.
The original structure consists of an eighteen-story tower above a base of five stories, while the western annex only rises five stories. The American Radiator Building's facade is made predominantly of black brick. Gold-colored decorations are used on the building's setbacks and pinnacles. Hood had intended for the original structure to be a standalone shaft, requiring the building to be set back from the lot line and reducing the maximum amount of space available. Inside, the basement, first, and second floors were originally designed as exhibition showrooms, while the upper stories served as office space.
The building was completed five years before the American Radiator Company merged with Standard Sanitary Manufacturing Company to form American Radiator and Standard Sanitary Corporation, later known as American Standard. American Standard sold the building in 1988 to a Japanese company. The main building was sold in 1998 to Philip Pilevsky, who opened the Bryant Park Hotel there in 2001. The annex operated as the Katharine Gibbs School from 2001 to 2009 and was converted into the City University of New York's Guttman Community College in 2012. The American Radiator Building is a New York City designated landmark and is on the National Register of Historic Places.


In February 1936, American Standard paid the Bowery Savings Bank $500,000 for the six adjacent houses at 46–52 West 40th Street and 39–43 West 39th Street. The structures were planned to be replaced with a showroom annex of no more than six stories. The new showrooms of the American Radiator Building opened in June 1937. The first exhibit held in the showrooms was a program about the planned redevelopment of Sixth Avenue after the planned demolition of the Sixth Avenue Elevated. Twenty-one of the project's laborers were given awards for the quality of their craftsmanship.
The expanded showrooms were initially used for exhibits such as "an ideal city of 2000 AD", displayed in 1937; an exhibit of home appliances, in 1938; and a model of the northern section of Sixth Avenue, in 1941. American Standard sold the structure behind its tower, at 35–39 West 39th Street, in 1950. The expanded tower continued to be occupied by office tenants such as the North Star Woolen Mill Company, as well as the Mosler Safe Company, the latter of which moved to the structure after American Standard acquired it in 1967.
The New York City Landmarks Preservation Commission (LPC) held public hearings in September 1974 to determine whether to designate the American Radiator Building, along with Bryant Park and part of the New York Public Library's interior as a city landmark. If approved, these would be the city's first modern-era, scenic, and interior landmarks, respectively. American Standard opposed the designation, stating that "the building has no historical significance at all" and claiming that it was only meant to "last a commercial length of time". Only two skyscrapers, the Flatiron Building and the Manhattan Municipal Building, were designated as city landmarks at the time. LPC chairwoman Beverly Moss Spatt said at the time that the "city is in serious trouble", with lawsuits questioning the commission's authority. The three landmark designations were granted in November 1974, and the designations were ratified by the New York City Board of Estimate early the next year. The American Standard Building was added to the National Register of Historic Places on May 7, 1980.


When the building was completed, architect Harvey Wiley Corbett observed that "Comment upon the new building has been sharply divided", quoting one critic who cited the color scheme as a source of argument. Hugh Ferriss wrote that the design "provoked more arguments among laymen on the subject of architectural values than any other structure in the country". Architectural media perceived the building as a novelty. Architecture and Building, for instance, said the design "is unusual, but not therefore unnecessarily ugly", and therefore effective as an advertisement for the American Radiator Company. Architecture magazine's editors stated in 1925 that the building's "very atmosphere", including its color scheme, was "symbolic of its function".
Orrick Johns of The New York Times said that the building "has broken through the color line", saying: "It certainly is something new and tremendous but, like jazz and the Ku Klux, hard to place." An anonymous critic in The Villager said that the American Radiator Building "distilled" what they perceived as a monotonous skyline. Architect Talbot Hamlin also praised the building's symbolism as "the perfect artistic expression of the rush and excitement of modern life" and called it the "most daring experiment in color in modern buildings yet made in America". Upon Hood's death in 1934, the New York Daily News called the building "among the finest modern achievements in architecture", along with Hood's McGraw-Hill Building, Daily News Building, and Beaux-Arts Apartments. Praise continued even in later years. In 1987, architects Philip Johnson and John Burgee named the American Standard Building as having one of the city's most distinctive roofs. The design was additionally noted for its use of lighting. According to art and architectural historian Dietrich Neumann, the design "helped to introduce a new age of color and light in American architecture."
Other critics were less appreciative of the novel color scheme.  An article published in Architecture magazine during 1925 said that the facade design "shocked and offended some of our good friends from the Middle West who saw it for the first time recently". Journalist Herbert Croly felt that the American Radiator Building was "not particularly successful in itself", though he believed the decorative scheme was useful as an inspiration for future colorful buildings in New York City. Similarly, George Harold Edgell said the design's "effect is theatrical to a degree that opens it to the charge of vulgarity", questioning whether a radiator company required such a prominent edifice.


"American Radiator Building" (PDF). New York City Landmarks Preservation Commission. November 12, 1974.
"American Radiator Building" (PDF). National Register of Historic Places, National Park Service. May 7, 1980.
"Black and Gold American Radiator Company's Building, in New York, Presents an [sic] Unique Color Scheme" (PDF). Through the Ages. Vol. 2. July 1924. pp. 15–16.
Corbett, Harvey Wiley (May 1924). "American Radiator Building, New York City". Architectural Record. Vol. 55. pp. 473–477.
Hood, Raymond M. (September 1924). "Exterior Architecture of Office Buildings". Architectural Forum. Vol. 41. pp. 97–99.
Hood, Raymond M. (November 19, 1924). "The American Radiator Company Building, New York". American Architect & Building News. Vol. 126, no. 2459. pp. 467–479.
Robins, Anthony W. (2017). New York Art Deco: A Guide to Gotham's Jazz Age Architecture. Excelsior Editions. State University of New York Press. ISBN 978-1-4384-6396-4. OCLC 953576510.
Stern, Robert A. M.; Gilmartin, Patrick; Mellins, Thomas (1987). New York 1930: Architecture and Urbanism Between the Two World Wars. New York: Rizzoli. ISBN 978-0-8478-3096-1. OCLC 13860977.


Thirty-two structural columns were used in the building, which each carry between 584 and 1,280 short tons (521 and 1,143 long tons; 530 and 1,161 t). The building utilized portal wind bracing, which could sustain winds of at least 82 miles per hour (132 km/h); this was demonstrated during January 1896, when the building was subjected to that wind speed with minimal evidence of oscillation. Exposed steel beams were covered with 3.5-inch-thick (89 mm) fireproof tile, while the floor arches were made of 10-inch-thick (250 mm) firebrick. The floors themselves were made of brick arches, concrete and ash aggregate, and steel joints, covered with a marble finish.
The northern and western elevations were curtain walls, as were the eastern and southern elevations above the eighth story. Between the first and eighth stories, the eastern and southern walls were load-bearing brick walls. The southern brick wall was 4 feet (1.2 m) thick to prevent fire from spreading to the Schermerhorn Building to the south. At the time of the building's construction, the thickness of a curtain wall was limited to 32 inches (810 mm), imposing a force of 80,000 pounds per foot (120,000 kg/m) on the foundation. If the walls had been load-bearing, then they would have needed to be 84 inches (2,100 mm) thick, imposing a force of 150,000 pounds per foot (220,000 kg/m) on the foundation. Due to the use of non-load-bearing curtain walls, an additional 87 square feet (8.1 m²) of usable space was provided in the width of each 20-foot (6.1 m) bay, resulting in a profit of $2,000 per year from the rental of the additional space. Foundation costs were also reduced, although the use of a steel frame canceled out some of the cost savings, since steel was slightly costlier than masonry. The usage of both curtain and bearing walls was not common at the time of the building's construction.


The American Surety Building had more than 400 rooms upon completion, accessed by six elevators and a spiral staircase. The elevators moved at 400 feet per minute (120 m/min), which was then considered very rapid. There were two water tanks, one each on the 10th and 21st floors, which had a cumulative capacity of 50,000 U.S. gallons (190,000 l; 42,000 imp gal) and supplied water to fire hoses on each floor. The 21st floor was used solely as a utility floor. The 10th-floor tank was used to reduce the maximum water pressure in the American Surety Building's pipes.
When the building was expanded in 1920, a two-story penthouse was added, with 6,500 square feet (600 m²) of restaurant space on each floor. The rental space on the 1st through 7th floors was expanded from 4,316 to 12,000 square feet (401.0 to 1,114.8 m²), and above the 7th floor, the rental space was expanded to 11,000 square feet (1,000 m²). The expanded building had ten elevators clustered on the north side of the building, as well as two staircases at the northwest and southeast corners.
The lobby has a black-and-gold coffered ceiling with a baby-centaur frieze. The ground level contains a large open arcade with 30-foot-tall (9.1 m) ceilings. There was previously a banking room at street level, which contained a gold-leaf ceiling supported by four marble pillars. This banking room was removed in a 1970s renovation and replaced with the open arcade.


The American Surety Building was erected at a time when buildings usually did not rise higher than 10 or 11 stories, and when skyscrapers were generally criticized. Architecture critic Russell Sturgis praised the ground-floor colonnade in 1899 as "a masterly adaptation of the loveliest forms of antiquity" reinforced by the pilasters on Pine Street and Broadway. When Price died in 1903, The Brickbuilder described the American Surety Building as "certainly the most interesting tall building in the country". Architecture critic Montgomery Schuyler said in 1913 that the building design was one of the first to use "the column analogy" that became popular at the beginning of the 20th century. After the 1975 modernization project, critic Ada Louise Huxtable called 100 Broadway "one of those sleeper landmarks (undesignated) of which New York has so many more than anyone realizes—an outstandingly fine early skyscraper".


The New York City Landmarks Preservation Commission cites the building as having 23 stories. Emporis, as well as architectural writers Sarah Landau and Carl Condit, give a height of 26 stories.
The now-demolished Tower Building, erected in 1888, had used a partial iron skeleton.
Johnston, Louis; Williamson, Samuel H. (2022). "What Was the U.S. GDP Then?". MeasuringWorth. Retrieved February 12, 2022. United States Gross Domestic Product deflator figures follow the Measuring Worth series.
This amounted to $282 per square foot ($3,040/m²), equivalent to $7,471 per square foot ($80,420/m²) in 2020.


The American Swedish Institute (ASI) is a museum and cultural center in the Phillips West neighborhood of Minneapolis, Minnesota, United States. The organization is dedicated to the preservation and study of the historic role Sweden and Swedish Americans have played in US culture and history. The museum complex includes the Swan Turnblad Mansion, completed in 1908, and the adjoining Nelson Cultural Center, completed in 2012.
Today, ASI serves as a gathering place for all people to share experiences around themes of culture, migration, the environment and the arts, informed by enduring links to Sweden. The museum offers exhibitions from Sweden and the Nordic region, programming for youth and family, and in recent years, has expanded its performing arts offerings. The museum's restaurant, FIKA, was named "Best Lunch In Minnesota" by the Star Tribune in 2013 for its New Nordic cuisine.


The American Swedish Institute is housed in a turn-of-the-20th-century mansion that was built for Swedish immigrants Swan and Christina Turnblad. Swan Turnblad immigrated with his family to the United States in 1868 at the age of eight. His parents made the decision to leave their farm in the famine-ridden area of Småland, Sweden. The family settled in a Swedish community called Vasa in southern Minnesota where they joined relatives who had settled in the area earlier.
Swan Turnblad was not content to continue in the family farming tradition. In 1879 Turnblad left Vasa for Minneapolis where he lived the quintessential rags-to-riches American success story. After he moved to Minneapolis, Turnblad worked at several Swedish language newspapers as a typesetter. His interest in the printing industry eventually led to his success as publisher of the Swedish language newspaper Svenska Amerikanska Posten. Within ten years he was the sole owner. Under his management, circulation of the weekly paper soared to over 40,000, a substantial increase from the 1,400 it initially claimed. This publication was likely the principal source of Turnblad's wealth.
The success of the paper was a result of Turnblad's aggressive management style, as well as the large numbers of Swedish immigrants who supported it. He created a technically advanced newspaper by using the best printing equipment available. He was the first Swedish publisher in America to set his paper by Linotype machine. In 1903 Svenska Amerikanska Posten became the first Swedish language paper to use a duplex rotary color printing press, enabling the creation of color illustrations.
In Minneapolis Swan met and married Christina Nilsson. She, like Turnblad, had come to America from Sweden with her family. Her family settled in Worthington, Minnesota, in 1876 when Christina was 15. Her first job in America paid no wages, but gave her work experience and English language training. Later she worked as a waitress for one year. In 1882 Christina moved to Minneapolis where she met the young newspaper man at a Good Templar meeting. They were married in 1883 and their only child, Lillian Zenobia, was born a year later.
In the early 20th century the Turnblads started to plan the building of their palatial estate. Their many trips to Europe certainly influenced their decision on the stately chateau style of the mansion and the ornate designs of the interior. The property on Park Avenue was purchased in 1903 and plans were drawn up by the Minneapolis architectural firm of Christopher A. Boehme and Victor Cordella. The structure took nearly five years to build. The Turnblads did not take out a mortgage on this property during construction. Bills were paid as they came due and there are no records of construction costs. When the museum was founded in 1929, the Minneapolis Tribune reported, "the cost is believed to have been close to $1 million although this is a matter the builder does not discuss."
The transition from private residence to museum happened in 1929 when the family donated the house and the newspaper to establish the American Institute for Swedish Arts, Literature and Science (later changed to the American Swedish Institute). Turnblad stated that he had long planned for the home to be a Swedish-American institute. He was quoted as saying, "many persons may have wondered what a small family like ours, a family which had not great social ambitions, wanted with so big a house. Perhaps they can guess now."  The mansion is on the National Register of Historic Places.  It was listed for its local significance in architecture, art, and education.
The second floor of the mansion underwent restoration in 1995 to rebuild damaged plaster moldings, and restore their gold leaf and paint to match undamaged regions. The work received a Heritage Preservation Award.
In 2012, ASI opened a 34,000-square-foot (3,200 m²) addition designed by HGA Architects of Minneapolis. The addition includes new gallery space, craft workshop, glass-enclosed reception area, gift shop, restaurant (FIKA), and spaces for events such as concerts, lectures, and community gatherings. The addition was dedicated by King Carl XVI Gustaf and Queen Silvia of Sweden.


In the 1950s, ASI began displays that showed how Christmas is celebrated in different Scandinavian countries. This has evolved into an annual display where each room in the mansion is decorated to represent a different country: Sweden, Norway, Finland, Iceland, and Denmark. Recently, the museum has added a "guest country" to the display with a Navidad room from Mexico in 2014 and a Russian Christmas room in 2015.


WikiWeb_American War Memorial, Gibraltar_1

The American War Memorial (pictured at right) is a World War I naval monument located near the north end of Line Wall Road in the British Overseas Territory of Gibraltar, at the southern end of the Iberian Peninsula. More formally known as the Naval Monument at Gibraltar, the memorial and steps were incorporated into the Line Wall Curtain at Prince Albert's Front giving pedestrians access to the lower Reclamation Road, Fish Market Lane, and Queensway. The steps connected the town above with the Royal Navy facilities below. The monument was designed by architect Paul Philippe Cret (1876–1945), a native of France who was a professor at the University of Pennsylvania. Cret (pictured at right) designed the memorial on behalf of the American Battle Monuments Commission. It was constructed between 1932 and 1933. The inscription (link below) over the arch of the memorial indicates that it was "erected by the United States of America to commemorate the achievements and comradeship of the American and British Navies in this vicinity during the World War." On the other side of the masonry arch are two bronze medallions (pictured below) depicting the seals of the United States and of its Department of the Navy. The dolomitic limestone utilised in the construction of the monument came from the Rock of Gibraltar. The memorial is an example of the successful incorporation of a relatively recent work into older, existing architecture.


WikiWeb_American War Memorial, Gibraltar_2

The formal dedication took place in October 1937, when an American contingent from the American Battle Monuments Commission arrived on the cruiser Raleigh. On the morning of 7 October, Rear Admiral Arthur P. Fairfield (1877–1946), of Raleigh, gave the inaugural address on behalf of General John J. "Black Jack" Pershing (1860–1948). Other speakers included General Sir Charles Harrington (1872–1940), the Governor of Gibraltar; Rear Admiral Alfred Evans (1884–1944), Rear Admiral in charge of Gibraltar; and the American Consul H. O. Williams. The dedication was attended by other military officials, foreign consuls, and American and British soldiers. During the unveiling of the monument, the band of the Royal Norfolk Regiment gave renditions of the national anthems of the United States and the United Kingdom.


WikiWeb_American War Memorial, Gibraltar_3

On 29 October 1960, the Gibraltar Philatelic Bureau issued a stamp (link below) in tribute to the American War Memorial at Gibraltar.
On 7 November 1998, the Gibraltar-American Council and the Government of Gibraltar commemorated the anniversary of Operation Torch, the World War II Allied invasion of North Africa, with a bronze plaque (pictured at left) at the American War Memorial. General Dwight D. "Ike" Eisenhower (1890–1969), who was headquartered in Gibraltar, had led the invasion in November 1942. The plaque was unveiled by the then Chief Minister of Gibraltar Peter Caruana on the steps of the memorial.

Other events that weekend included tree-planting ceremonies at two sites, The Mount and The Convent. The Eisenhower Centre was inaugurated, with temporary housing in the Garrison Library. Caruana hosted a lunch at The Mount and a dinner at St. Michael's Cave. Gold commemorative coins were distributed to some of the guests. In addition, the Governor hosted a dinner at The Convent. Overseas guests included Anne Eisenhower Flottl, the granddaughter of President Eisenhower; Winston S. Churchill (1940–2010), the grandson of Prime Minister Sir Winston Churchill (1874–1965); and Mrs. Franklin Roosevelt, the daughter-in-law of President Franklin D. Roosevelt (1882–1945). Senior officers of the United States Army and Navy also attended the events. The USS Mitscher (DDG-57) was at Gibraltar for the anniversary. Members of the Royal British Legion and veterans of the Gibraltar Defence Force who served during Operation Torch were also invited to the ceremony at the American War Memorial. The inscription on the plaque at the monument reads:
OPERATION TORCH – In memory of the British and American soldiers, sailors, and airmen who risked their lives in the liberation of North Africa in World War II. From their headquarters in Fortress Gibraltar, Lieutenant General Dwight David Eisenhower, United States Army, and Admiral Sir Andrew Cunningham, Royal Navy, directed Operation TORCH, the first major combined combat operation during World War II involving American and British forces. On 8 November 1942, elements of the Allied expeditionary force landed simultaneously along the coastline of Morocco and Algeria. The lessons learned and the relationships forged between British and American forces and their leaders during this campaign would ultimately lead to the liberation of Europe. The Gibraltar-American Council November 1998


Americas Tower, also known as 1177 Avenue of the Americas, is a 50-story, 692-foot (211 m) skyscraper in Midtown Manhattan, New York City, at Sixth Avenue and 45th Street. Construction began in 1989 and was expected to be completed in 1991. This schedule was altered when construction was halted in December 1989 due to lawsuits. In February 1991, construction resumed. Swanke Hayden Connell Architects designed the tower in a mixture of the art deco and postmodern styles. The facade is made of polished reddish-pink granite. The tower was sold in 2002 for US$ 500 million to a group of German-American investors.


The audacity of building a transcontinental railroad in the 1860s was "today's equivalent of the mission to Mars: Big, expensive and impossible," according to University of Wyoming historian Phil Roberts. President Abraham Lincoln reportedly told Oakes Ames that if he could get the transcontinental railroad built then he would be "the most remembered man of the century." Lincoln personally recruited Oakes after progress by and financial support for Credit Mobilier of America, the construction company charged with building the railroad, ground to a halt. The Ames brothers succeeded where others failed and completed the transcontinental railway. However, in 1873 charges of financial fraud were leveled at Oakes, tarnishing his and the Union Pacific Railroad Company's reputation.
Public outcry towards Oakes and other "Kings of Frauds" associated with scandal threatened the Ames family reputation and the Ames Company that dated back to 1774 when the company started making steel-edged shovels. The Ames Company later sold axes and shovels to miners during the California Gold Rush. The company continued its heritage as earth movers by supplying the government shovels during the Civil War, for excavating the Panama Canal, for mining Pennsylvania coal fields, and for digging the New York City Subway.
Memory of the financial scandal that surfaced in 1873 had not been forgotten when the Union Pacific Railroad Company built the monument honoring the Ames brothers during 1881–1882. The Union Pacific Railroad Board of Directors voted in 1875 to erect the grand Ames Monument, in part to help reclaim some of the company's luster lost during implications of fraud leveled earlier at Oakes Ames. Union Pacific stockholders subsequently authorized the construction at a meeting held in Boston on March 10, 1875.
The Norcross Brothers of Worcester, Massachusetts built the monument, employing some 85 workers who lived on site, "where reportedly no liquor or gambling was allowed." Workers cut the stone for the pyramid from a granite outcropping common in the area. They then used oxen teams to skid the stone a half-mile to the work site. The rough-faced granite blocks used to construct the monument in many cases weigh several tons.
Workers constructed the pyramid about 300 yards south of the tracks on a small knoll. When completed in 1882, the Ames Monument stood 300 feet (91 m) south of, and 32 feet (9.8 m) above, the highest elevation of the original tracks of Union Pacific transcontinental railroad at 8,247 feet (2,514 m). President Rutherford B. Hayes underscored the importance of the transcontinental railroad and thereby the Ames brothers by attending the monument's dedication ceremony.
However, when completed in 1882, the Ames Monument was visited by many persons who were allowed to momentarily leave their trains in order to view the monolithic curiosity. It was said that when the construction of the monument was almost completed, some people had the opportunity of being lifted to the top of the monument by a special rig and from their breezy perch could view the surrounding area for a hundred miles in all directions.
In 1885, after finding that the Union Pacific had accidentally built the monument not on one of the plots granted to the corporation by the government, but on one of the alternating plots available for purchase or claim by Homesteaders, local resident William Murphy purchased the land that contained the monument, intending to cover the pyramid with advertising. The Union Pacific Railroad Company contested the purchase, and eventually obtained a special deed to the property in 1889, both frustrating Murphy and bankrupting him through legal proceedings.


The monastery was founded by Queen Ælfthryth in about the year 979 on what may have been the site of an earlier monastery. She founded two religious houses at about the same time, the other being at Wherwell in Hampshire. Ælfthryth's motive was long believed to be contrition for the murder of Edward, another boy-martyr, making the date of 979 given by the Melrose chronicle appropriate. However, she is now considered not to have been personally responsible for the murder.
At the time of the Domesday Book (1086), the abbey held, as it had had in King Edward's time, the Wiltshire manors of Bulford, Boscombe, Allington, Coulston, and Maddington, totalling twenty-seven hides, together with the manor of Rabson in Winterbourne Bassett. In Berkshire it held Ceveslane in Challow, Fawley, and Kintbury and the church at Letcombe Regis.
It seems that for most of its existence Amesbury Abbey was probably not of particular importance and its overall income was not especially high. It was, like all women's houses in particular, liable to harassment, rustling and other incursions by powerful neighbours, as well as abusive tax exactions. At the £54 and 15 shillings that its income reached, it was admittedly just above Wherwell Abbey (Hampshire) and Chatteris Abbey (Cambridgeshire), but it was less than other nunneries in its region, such as Wilton Abbey (Wiltshire), Shaftesbury Abbey (Dorset) or Romsey Abbey (Hampshire).
As to the Abbesses of Amesbury, the references are sparse. For the period before the Conquest there is only a retrospective mention much later of Heahpled (?), in the years 979 and 1013, and at the time of the house's re-foundation, of the then incumbent Abbess, Beatrice (1177).


Originally named Fincastle, the house was built in the Scottish baronial style by architect David Bryce in 1864–1867 for Charles Murray, 7th Earl of Dunmore (styled Viscount Fincastle until 1845), whose grandfather George Murray, 5th Earl of Dunmore had purchased the island in 1834. J M Barrie found inspiration for his play Mary Rose while staying at the castle in 1912 and visiting the nearby Loch Voshimid, "where we found Mary Rose". In 2003, Amhuinnsuidhe Castle Estate purchased the castle and the fishing rights, while the North Harris Estate was transferred into community ownership. The castle is now operated as a venue for fishing, shooting parties, weddings and corporate events.


The house is squeezed into a narrow level space between the ocean and the hill rising behind the house and both have to be restrained by walls in front and behind. The lack of level ground is probably why the main road skirts the front of the house, very unusual for a country house. It is built of imported freestone, stugged and snecked ashlar; rubbled masonry is used at the rear. The castellated four-storey main block has a corner turret and rounded corners. Its eastwards three-storey extension has a first-storey oriel window with flanking bartizans. The flanking blocks are only three storeys high and the western block is recessed from the road. The eastern block is even with the main block, but it connected to the main block by a deeply recessed range, possibly to suggest a 17th-century addition to an older house. Gables are crowstepped throughout.


Amid(a), also known by various names throughout its long history, was established as an Aramean settlement, circa the 3rd millennium BC, later as the capital of Bit-Zamani. The oldest artefact from Amida is the famous stele of king Naram-Sin also believed to be from third millennia BC. The name Amida first appears in the writings of Assyrian King Adad-nirari I (C. 1310 -1281 BC) who ruled the city as a part of the Assyrian homeland. Amida remained an important region of the Assyrian homeland throughout the reign of king Tiglath-Pileser I (1114–1076 BC) and the name Amida appeared in the annals of Assyrian rulers until 705 BC, and also appears in the archives of Armenian king Tiridates II in 305 AD, and the Roman historian Ammianus Marcellinus (325–391 AD).
It was enlarged and strengthened by Constantius II, in whose reign it was besieged and taken after seventy-three days by the Sassanid king Shapur II (359). The Byzantine soldiers and a large part of the population of the town were massacred by the Persians. The historian Ammianus Marcellinus, who took part in the defence of the town, has given a minute account of the siege. In 363 Amida was re-taken by Roman Emperor Julian.
Amida was besieged by the Sassanid king Kavadh I during the Anastasian War through the autumn and winter (502-503). The siege of the city proved to be a far more difficult enterprise than Kavadh expected; the defenders, although unsupported by troops, repelled the Sassanid assaults for three months before they were finally beaten. Part of the prisoners of Amida were deported to Arrajan, a city refounded by Kavad I, who then named it "Weh-az-Amid-Kawad" (literally, "better than Amida, Kavad [built this]". During that same war, the Romans attempted an ultimately unsuccessful siege of the Persian-held Amida, led by generals Patricius and Hypatius. In 504, however, the Byzantines reconquered the city, and Justinian I repaired its walls and fortifications.
The Sassanids captured the city for a third time in 602 and held it for more than twenty years. In 628 the Roman emperor Heraclius recovered Amida.
Finally, in 639 the city was captured by the Arab armies of Islam and it remained in Arab hands until the Kurdish dynasty of the Marwanids ruled the area during the 10th and 11th centuries.
In 1085, the Seljuq Turks captured the region from the Marwanids, and they settled many Turcomans in the region. However, the Ayyubids received the city from their vassal State the Artiquids in 1232, and the city ruled by them until the Mongolian Ilkhanate captured the city in 1259. Later the Ayyubids of hasankeyf Took back the city and ruled it until it was sacked by the Timurid Empire in 1394. Yavuz Sultan Selim, the Ottoman Emperor received the city from the Safavids in 1515.
Amida is a diocese of several Christian denominations; for the ecclesiastical history of Amida and Diyarbakir, see the Diyarbakır article.


There are more than 5,000 artifacts in the museum collection, with more than 2,000 displayed in museum exhibition halls. In particular, the museum displays focus on the genealogy of Amir Temur, his coming to power, the military campaigns of Sahib Kiran, diplomatic and trade relations, workmanship, city improvement and landscaping, and science and education development. There are also exhibits related to representatives of the Timurid dynasty, including maps, weapons, copper and silver coins, miniatures, rare manuscripts, potteries, and jewelry.


The museum attracts more than 2 million visitors annually. It is visited by foreign statesmen and official delegations, and more than 800 such delegations have been recorded in the museum guest book.


The museum carries out educational work with young people, encouraging respect and love towards heritage, history, and historical figures. To this end, the museum holds spiritual enlightenment activities in collaboration with schools, colleges, and lyceums.


The center has an area of around 2 hectares in size. The main building of family and festival houses are based on the hand drawings of Guangfu Township in Hualien County from 1943 by a Japanese ethnologist. The buildings are the imitation of Shaman's house in Taibalang community in Hualien County. The center has an outdoor performance square and an outlook that can hold 2,000 people at one time.


The Amman Citadel (Arabic: جبل القلعة, romanized: Jabal Al-Qal'a) is an archeological site at the center of downtown Amman, the capital of Jordan. The L-shaped hill is one of the seven hills (jabals) that originally made up Amman.
The Citadel has a long history of occupation by many great civilizations. Evidence of inhabitance since the Neolithic period has been found and the hill was fortified during the Bronze Age (1800 BCE). The hill became the capital of the Kingdom of Ammon sometime after 1200 BCE. It later came under the sway of empires such as the Neo-Assyrian Empire (8th century BCE), Neo-Babylonian Empire (6th century BC), the Ptolemies, the Seleucids (3rd century BCE), Romans (1st century BCE), Byzantines (3rd century CE) and the Umayyads (7th century CE). After the Umayyads, came a period of decline and for much of the time until 1878 as the former city became an abandoned pile of ruins only sporadically used by Bedouins and seasonal farmers. Despite this gap, the Citadel of Amman is considered to be among the world's oldest continuously inhabited places.
Most of the structures still visible at the site are from the Roman, Byzantine, and Umayyad periods. The major remains at the site are the Temple of Hercules, a Byzantine church, and the Umayyad Palace. The Jordan Archaeological Museum was built on the hill in 1951. Though the fortification walls enclose the heart of the site, the ancient periods of occupation covered large areas. Historic structures, tombs, arches, walls and stairs have no modern borders, and therefore there is considerable archaeological potential at this site, as well as in surrounding lands, and throughout Amman. Archaeologists have been working at the site since the 1920s, including Italian, British, French, Spanish, and Jordanian projects, but a great part of the Citadel remains unexcavated.


The Ammende Villa, with a large garden and adjacent forest, was built in 1904 by local magnate merchant Hermann Leopold Ammende through St. Petersburg's architecture offices Mieritz & Gerasimov in commissioning for the wedding of his daughter. Since its creation, the mansion has served many purposes as a summer casino and club, health establishment, library, and also as a dental clinic during Soviet times, before being restored and converted in 1999 into a hotel by two Estonian businessmen. With spacious halls, salons and rooms furnished in authentic period style, the hotel is located close to the beach and a short-distance walk from the old town.


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Nineteenth-century figure paintings, portraits, and genre pictures (portrayals of everyday life) represent an important chapter in the history of American art development, and several examples of these types of paintings are found in the ACMAA collection. Swimming (1885) by Thomas Eakins (1844–1916) is one of the best-known realist figure paintings in the history of American art. A summation of Eakins’ painting technique and belief system, Swimming was acquired for the ACMAA collection in 1990. Crossing the Pasture (1871–72) by Winslow Homer (acquired 1976) combines the artist’s skills as a figure painter with his gift for storytelling to create a charming image of rural New York life.
Indian Group (1845) by Charles Deas (1818–1867) explores the physical appearance of Deas' Native American subjects and the perils associated with their nomadic lifestyle (see picture gallery below). The Potter (1889) by George de Forest Brush (1855–1941) is another example in the ACMAA collection of an artist's exacting and nuanced method of depicting an indigenous American sitter. Attention Company! (1878) by William M. Harnett (1848–1892) is the only known figural composition by this American master of trompe-l'œil ("fool the eye") painting.
A major historical genre painting by William T. Ranney (1813–1857) is in the ACMAA collection. Ranney’s Marion Crossing the Pedee (1850) exhibits the artist’s great skill as a figure painter and use of that skill to entertain and educate his nineteenth-century audience. Notable genre paintings by Conrad Wise Chapman (1842–1910), Francis William Edmonds (1806–1863), Thomas Hovenden (1840–1895), and Eastman Johnson (1824–1906) are also housed in the ACMAA collection.
Portraitist John Singer Sargent (1856–1925) is represented in the museum’s collection by formal portraits of two American subjects, Alice Vanderbilt Shepard (1888), and Edwin Booth (1890; see picture gallery below).


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Trompe-l'œil ("fool the eye") paintings and classic still-life paintings make up a prominent component of the ACMAA collection. Ease (1887) by William M. Harnett (1848–1892) is a large and eloquent example of the trompe-l'œil genre and one that amply demonstrates the allure of Harnett’s trompe-l'œil illusions for his nineteenth-century patrons. John Frederick Peto (1854–1907), a William Harnett contemporary who worked in relative obscurity, is represented in the collection by two highly accomplished trompe-l'œil compositions, Lamps of Other Days (1888) and A Closet Door (1904-06). Other trompe-l'œil paintings in the ACMAA collection were created by De Scott Evans (1847–1898) and John Haberle (1853–1933).
America’s first recognized still-life painter, Raphaelle Peale (1774–1825), is represented in the ACMAA collection by an 1813 composition Peaches and Grapes in a Chinese Export Basket. Other classic American still lifes featuring fruit or flowers include Wrapped Oranges (1889) by William J. McCloskey (1859–1941) and Abundance (after 1848) by Severin Roesen (1815–after 1872).
The ACMAA sculpture collection provides historical context for the museum’s deep holdings of bronze sculpture by Frederic Remington and Charles M. Russell, as well as acknowledging the importance of sculpture in the wider history of American art. As such, the collection contains works created by leading individuals in both the nineteenth and twentieth centuries. The Choosing of the Arrow (1849) by Henry Kirke Brown (1814–1886) is one of the earliest bronzes cast in America. Slightly later bronze sculptures, The Indian Hunter (1857–59) and The Freedman (1863), both by John Quincy Adams Ward (1830–1910), are also in the collection. Bust of a Greek Slave (after 1846) by Hiram Powers (1805–1873) is an example of an American neoclassical work carved in marble.
Two American sculptors who enjoyed great success during their lifetimes, Frederick MacMonnies (1863–1937) and Augustus Saint-Gaudens (1848–1907), are represented in the ACMAA collection by cast bronze works created in the late nineteenth century. Alexander Phimister Proctor (1860–1950) and Anna Hyatt Huntington (1876–1973) are represented by bronzes created in the late nineteenth and early twentieth centuries respectively. A bronze sculpture by Solon Borglum (1868–1922), who, like Remington and Russell, specialized in depictions of Old West subjects, and a two-piece bronze by Paul Manship (1885–1966), Indian Hunter and Pronghorn Antelope (1914), are in the collection as well.
The experimentation of early twentieth-century artists with nature-based abstraction and direct carving techniques from natural materials is seen in works by John Flannagan (1895–1942), Robert Laurent (1890–1970), and Elie Nadelman (1882–1946). Signature works by Alexander Calder (1898–1976) and Louise Nevelson (1899–1988) are among the mid-twentieth century sculptural pieces in the collection. Nevelson’s Lunar Landscape is a large, painted-wood construction that dates to 1959-60 (see picture gallery below).


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The ACMAA collection contains several examples of American Impressionism.
Idle Hours (about 1894) by William Merritt Chase (1849–1916) anchors the ACMAA holdings of American Impressionist paintings. Chase's student and protégé Julian Onderdonk (1882–1922) is represented by a Texas scene, A Cloudy Day, Bluebonnets near San Antonio, Texas (1918). Flags on the Waldorf (1916) is a signature New York work by Childe Hassam (1859–1935). Other well-known American Impressionist painters who have pieces in the collection are Mary Cassatt (1844–1926), Willard Metcalf (1858–1925), and Dennis Miller Bunker (1861–1890; see picture gallery below).
New York photographer Alfred Stieglitz (1864–1946) befriended and championed several of the most visionary modern painters to emerge in early twentieth-century America. Five modern artists who were closely identified with Stieglitz's circle are represented in the ACMAA collection. They are Charles Demuth (1883–1935), Arthur G. Dove (1880–1946), Marsden Hartley (1877–1943), John Marin (1870–1953), and Georgia O'Keeffe (1887–1986). The collection houses early works by Demuth, Dove, Hartley, and O’Keeffe, produced between 1908 and 1918, and a focused group of later paintings by Dove, Hartley, Marin, and O’Keeffe that capture their response to the light and color of the New Mexican landscape near Taos. Charles Demuth’s Chimney and Water Tower (1931), painted in the artist’s hometown of Lancaster, Pennsylvania, depicts a local linoleum factory as a grid of austere, monumental forms and passages of steel gray, blue, and deep red. Chimney and Water Tower entered the ACMAA collection in 1995.
Several important paintings by American modernist Stuart Davis (1892–1964) are housed in the Amon Carter Museum of American Art, including an early self-portrait painted in 1912 and a work from his Egg Beater series, Egg Beater No. 2 (1928). American modernists represented in the AMCAA collection also include Josef Albers (1888–1976), Will Barnet (1911–2012), Oscar Bluemner (1867–1938), Morton Schamberg (1881–1918), Ben Shahn (1898–1969), Charles Sheeler (1883–1965), Joseph Stella (1877–1946), and others (see picture gallery below).


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The Amon Carter Museum of American Art is one of the country’s major repositories for historical and fine art photographs. The ACMAA has over 350,000 photographic works in its collection, including 45,000 exhibition-quality prints. These holdings span the complete history of photographic processes used in America from daguerreotypes to digital. Photography’s central role in documenting American culture and history, and the medium's evolution as a significant and influential art form in the twentieth-century to the present, are the themes around which the ACMAA photography collection is organized.

The personal archives of photographers Carlotta Corpron (1901–1988), Nell Dorr (1893–1988), Laura Gilpin (1891–1979), Eliot Porter (1901–1990), Erwin E. Smith (1886–1947), and Karl Struss (1886–1981) are prominent collection resources. Finding aids and guides for these and other monographic collections are available online under the Collections/Photographs/Learn More tabs on the ACMAA website.
The ACMAA photography collection contains early images of Americans at war, anchored by 55 Mexican–American War (1847–1848) daguerreotypes. The collection houses a copy of Alexander Gardner's two-volume work, Gardner's Photographic Sketch Book of the Civil War and a copy of Photographic Views of Sherman’s Campaign (1865) by George Barnard. A group of more than 1,400 nineteenth and early twentieth-century portraits of Native Americans that originated with the Bureau of American Ethnology is another of the collection’s highlights, along with a complete set of Edward Curtis's The North American Indian.
The ACMAA’s collection of nineteenth-century landscape photographs includes images by John K. Hillers (1843–1925), William Henry Jackson (1843–1942), Timothy H. O'Sullivan (1840–1882), Andrew J. Russell (1830–1902), and Carleton E. Watkins (1829–1916). Twentieth-century master images by Ansel Adams (1902–1984) are complemented by later twentieth-century landscapes from the studios of William Clift (born 1944), Frank Gohlke (born 1942), and Mark Klett (born 1952).
Fine art photographs by Alfred Stieglitz (1864–1946) are the collection's most significant works from the turn-of-the-twentieth-century Photo-Secession movement, a crusade which Stieglitz led. The work of the Photo-Secessionists and other leading photographers of the period is also documented in complete runs of Camera Notes (published 1897–1903), Camera Work (published 1903–1917), and 291 (published 1915–1916).
Substantive holdings of twentieth-century documentary photographs include works by Berenice Abbott (1898–1991); prints produced over twenty-five years in connection with Dorothea Lange's The American Country Woman photographic essay; Texas images from the Standard Oil of New Jersey Collection; and project photographs from the 1986 statewide survey Contemporary Texas: A Photographic Portrait. Additionally, twentieth-century documentary photographs by Russell Lee (1903–1986), Arthur Rothstein (1915–1985), Marion Post Wolcott (1910–1990), and many others are housed in the museum's collection.
Other substantive groups of twentieth-century photographs in the ACMAA collection are organized around the careers of Robert Adams (born 1937), Barbara Crane (born 1928), Frank Gohlke (born 1942), Robert Glenn Ketchum (born 1947), Clara Sipprell (1885–1975), Brett Weston (1911–1993), and Edward Weston (1886–1958).
The ACMAA owns a complete set of prints from Richard Avedon's In the American West series, a project commissioned by the ACMAA in 1979. In recent years the museum has largely focused on acquiring and displaying photographs by contemporary artists including Dawoud Bey (born 1953), Sharon Core (born 1965), Katy Grannan (born 1969), Todd Hido (born 1968), Alex Prager (born 1979), Mark Ruwedel (born 1954), and Larry Sultan (1946–2009).


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Much of America’s aesthetic, economic, and social history is found in works on paper, a category that includes drawings, prints, and watercolors. The ACMAA began to actively collect works on paper in 1967. The collection today numbers several thousand items by noted artists of the nineteenth and twentieth centuries to the present. Drawings and paintings range from preliminary studies to fully realized compositions. Most nineteenth-century prints originated as reproductions intended for dissemination to the public and depict subjects relevant to the American experience. Twentieth-century and later prints are fine art prints made by a variety of processes as a means of artistic self-expression.
Prints that stem from early western surveys conducted by the United States War Department and the United States Department of the Interior are important components of the works on paper collection. These prints were typically based on field sketches by artists who accompanied the expeditions. They provide unique views of the western landscape, Indian life, natural history, ancient Spanish culture, and life in nineteenth-century American frontier communities. The Frémont Expeditions (1842–44), Emory Expedition (1846–47), Abert Expedition (1846–47), and Simpson Expedition (1849) are among the sources of western survey prints collected by the ACMAA.

The ACMAA’s nineteenth-century print collection also includes a copy of the landmark Hudson River Portfolio (1821–25) based on the work of painter William Guy Wall (1792–after 1864) and engraver John Hill (1770–1850); original copper plate etchings of Native Americans as depicted in field studies by Karl Bodmer (1809–1893); a complete set of planographic prints from George Catlin's North American Indian Portfolio (1844); and ornithological prints from John James Audubon's landmark book The Birds of America (published 1827–38).
Examples of work in the collection by other noted expeditionary artists include rare nineteenth-century field studies by Edward Everett (1818–1903), Richard H. Kern (1821–1853), John H. B. Latrobe (1803–1891), Alfred Jacob Miller (1810–1874), and Peter Rindisbacher (1806–1834); nineteenth-century views of the American West by John Mix Stanley (1814–1872) and Henry Warre (1819–1898); and early views of San Francisco by Thomas A. Ayres (1816–1858). See Expeditionary art and depictions of Native American life (above) for more information on American expeditionary art and artists.
Preeminent American artists of the late nineteenth and early twentieth centuries like Winslow Homer (1836–1910), George Inness (1825–1894), John La Farge (1835–1910), and famed expatriates John Singer Sargent (1856–1925) and James Abbott McNeill Whistler (1834–1903) are each represented by high-quality drawings and/or paintings in the ACMAA works on paper collection.
Other artists in the works on paper collection who are associated with major movements in American art include American Pre-Raphaelites Fidelia Bridges (1834–1923), Henry Farrer (1844–1903), John Henry Hill (1839–1922), Henry Roderick Newman (1833–1918), and William Trost Richards (1833–1905); Ashcan School illustrator John Sloan (1871–1951); and leading twentieth-century modernists Charles Demuth (1883–1935), Arthur Dove (1880–1946), John Marin (1870–1953), Georgia O'Keeffe (1887–1986), Morton Livingston Schamberg (1881–1918), and Abraham Walkowitz (1878–1965).
A master set of over 200 lithographs by American realist painter George Wesley Bellows (1882–1925) is one of the highlights of the ACMAA’s works on paper collection. Leading American printmakers Martin Lewis (1881–1962), Louis Lozowick (1892–1973), and Reginald Marsh (1898–1954) are each represented by multiple examples of their graphic work. Also housed in the collection are early works by Edward Hopper (1882–1967) and a complete set of prints by modernist Stuart Davis (1892–1964). An early watercolor by Jacob Lawrence (1917–2000), acquired in 1987, marks the ascension of this important artist’s career.
The ACMAA collection houses almost 2,500 fine art lithographs made at the Tamarind Lithography Workshop in Los Angeles, California between 1960 and 1978. The museum also houses an important collection of drawings, watercolors, and prints by early Texas artist Bror Utter (1913–1993), including Utter’s 1957-58 studies of vanishing Fort Worth architecture. Most recently, the ACMAA added two important series of lithographs to these holdings, one by Glenn Ligon (born 1960) and another by Sedrick Huckaby (born 1975).