Investment Manager Job Description


Investment Manager Job Description

investment manager job description

    investment manager

  • (Investment Managers) If Client is an investment manager or agent, Client represents and warrants that (a) it is executing these Terms on its own behalf and as agent of Client’s principals, (b) Client has all requisite authority to so execute and to effect transactions through the BARX Services
  • An organisation or entity which, by a contractual agreement, has discretion for acquiring, managing, and selling individual real estate investments or commingled fund assets.
  • Investment management is the professional management of various securities (shares, bonds and other securities) and assets (e.g., real estate) in order to meet specified investment goals for the benefit of the investors.

    job description

  • A formal account of an employee’s responsibilities
  • description of the responsibilities associated with a given job
  • A document that describes a particular role and set of responsibilities within a project.
  • A job description is a list of the general tasks, or functions, and responsibilities of a position. Typically, it also includes to whom the position reports, specifications such as the s needed by the person in the job, salary range for the position, etc.

Fred F. French Building interior

Fred F. French Building interior
Fifth Avenue lobby, Midtown Manhattan, New York City, New York, United States of America


Located on the northeast corner of 45th Street and Fifth Avenue, the Fred F. French Building was constructed in 1926-27 as corporate headquarters for the prominent real estate firm of the same name. A proto-Art Deco design, with strong Near Eastern influences, it represents the stylistic compromise between lingering historicism and the modernistic trends that typified the architecture of the late 1920s.

The Near Eastern allusion is enhanced in the vaulted lobby and enclosed vestibule on 45th Street by polychromatic ceiling ornament, decorative cornices of ancient inspiration, elaborate wall fixtures and, most splendidly, by the twenty-five gilt-bronze doors where inset panels of women and bearded Mesopotamian genii symbolize various aspects of commerce and industry. The lavish marble walls and floor, together with the eight architect-designed crystal chandeliers and even the griff on-framed mailbox distinguished the Fred F. French Building as an exotic "business palace" among more straightforward office buildings. It was, upon completion in 1927, one of the most popular addresses in the midtown commercial zone.

The Fred F. French Building is a significant example of distinctive corporate imagery dating from the era of New York’s greatest building boom. Financed by the first commercial application of Fred French’s cooperative investment plan, the building was broadly applauded for its ornament, technological advances and unusually accomplished planning.

Among its other amenities were close proximity to Grand Central Terminal and a prime location in the rapidly developing business district at midtown Fifth Avenue. The public areas of the French Building’s first floor interior remain substantially intact. The only significant modification was enclosure of the entrance vestibule on 45th Street with modern glass doors and transom — a measure which, in effect, has increased the interior space. Admirably maintained, the first floor lobby and vestibules of the Fred F. French Building survive as one of the finest examples in New York of architectural exoticism from the late 1920s.

Development of the Midtown Business Center

The mid- and late 1920’s witnessed an unprecedented building boom in midtown Manhattan. Indeed, construction along Fifth Avenue was so active that it was hailed as "the seventh wonder of twentieth-century commerce."

Growing apace were the Grand Central Zone immediately to the east and the Garment Center on the west, the latter located between 30th and 40th Streets, off Sixth Avenue. Broadway theater construction was simultaneously proceeding at break-neck speed, adding some forty-five playhouses to the area around Times Square in the first two decades of the century alone. By 1930 the total had surpassed eighty.

A major thoroughfare through the theater zone is Sixth Avenue which was forecast in the late 1920s as Manhattan’s new commercial frontier. Expectations for its revival were encouraged by plans for the imminent demolition of the Sixth Avenue El (which, however, did not occur until 1940). Sixth Avenue thus held great interest for New York’s major real estate developers, not the least of whom was Fred F. French.

Concurrent building activity in eastern midtown was propelled by Warren & Wetmore’s Grand Central Terminal (completed in 1913), the focus of east side commuter traffic. It played a pivotal role in developing the area, ranking "second only to Wall Street." The surrounding region was owned by the New York Central Railroad which improved its properties through a coordinated policy for the erection of tall office buildings and hotels.

Removal of the 42nd Street spur of the Third Avenue Railway also encouraged growth, leaving the street ripe for commercial development and reclamation by pedestrians and vehicular traffic. The area around 42nd Street thus became a busy link between the Grand Central Zone on the east, Times Square and the booming west side.

Perhaps most spectacular was the development of Fifth Avenue, and particularly its midtown section. On the occasion of the Avenue’s centennial in 1924, the Fifth Avenue Association published Fifth Avenue: Old and New in which the two preceding years (1922-24) were cited as the peak of building activity.

Subsequent construction, however, proved even greater in scope. The fifteen office buildings constructed in 1925 were "not matched in any year after World War II until 1957. The thirty office buildings constructed in 1926 have not been matched since."

The Fred F.

French Building was among that record-breaking thirty.

The proliferation of new buildings was fostered by such civic improvements as street widening and repair (widening operations of Fifth Avenue were first undertaken in 1907, and completed in 1929).

Also influential was the strict enforcement of zoning

Neil Simon Theater

Neil Simon Theater
Midtown Manhattan, New York City, New York, United States of America


The Alvin Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1926-27, the Alvin was one of the relatively small number of post-World War I theaters built not by the Shubert or Chanin organizations, but rather for a special client. The Alvin was designed by prolific theater architect Herbert J. Krapp to house the productions and the offices of producers Alex Aarons and Vinton Freed ley, from whose abbreviated first names the acronym "Alvin" was created.

Herbert J. Krapp was the most prolific architect of the Broadway theater district. Having worked in the offices of Herts & Tall ant, premier theater designers of the pre-war period, Krapp went on to design theaters for the two major builders of the post-war era, the Shubert and Chanin organizations. He was occasionally retained by independent theater builders, however, as in the case of the Alvin. For the Alvin he designed an exceptionally handsome neo-Georgian facade with Adamesque detailing. Its asymmetrical but balanced massing clearly expresses its division into auditorium and stage section.

The Alvin was built to showcase the musical comedies of Aarons and Freed ley, and has had a consistently outstanding history of long-running shows, beginning with Funny Face, featuring the young Fred Astaire. For half a century the Alvin Theater has served as hone to countless numbers of the plays through which the Broadway theater has come to personify American theater. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world.

Alex Aarons and Vinton Freedley

Aarons and Freedley, who commissioned the Alvin Theater, were prominent and successful Broadway producers, who mounted some of Broadway’s most legendary shews.

Vinton Freedley (1891-1969) was said to be the only Broadway producer whose name was listed in the social register. Born of a prominent family in Philadelphia, Freedley was educated at Groton, Harvard, and the Pennsylvania Law School. While still at Harvard, Freedley gained his first show business experience writing the music for two Hasty Pudding shows and playing the leading lady in both. After passing the bar examination, he left Pennsylvania for New York in search of a career, not in law but on the stage.

Freedley’s first job was with William A. Brady’s company where, from 1917 to 1922, Freedley learned and absorbed as much as he could about the theater business: writing, direction, lighting, production, script burying, casting, and acting.

In 1924, Freedley, feeling confident enough to launch his own productions, formed an association with Alex Aarons (1891-19^3), also from Philadelphia and already a known and successful manager. Aarons had produced For Goodness Sake in New York in 1921 and subsequently taken it to

London under the new title of Stop Flirting where it became one of the reigning successes of the new season. Knowledge of the theater business had cane early to Aarons. His father, Alfred E. Aarons, spent fifty years in the theater, principally in association with the production and booking team of Klaw and Erlanger; Aarons senior was said to have originated the modern system of booking road shows.

Aarons and Freedley’s partnership lasted nine years. Their first smash hit came in 1924 with George and Ira Gershwin’s Lady Be Good, which brought to prominence Fred and Adele Astaire. A number of hits followed, many of them on the Alvin stage. In 1933, however, the Aarons-Freedley partnership came to an end, probably as a result of financial losses incurred during the Depression. Although no longer active as a Broadway producer, Aarons nonetheless became involved in various theatrical endeavors, most of them having a Hollywood connection. His last project was with Warner Brothers in Los Angeles assisting in the filming of Rhapsody in Blue, George Gershwin’s biography. Aarons died in 1943 at the age of 52.

After the team’s dissolution, Vinton Freed ley moved his offices to the RCA Building where he continued to coordinate the production of hit Broadway shows. These included Anything Goes (1934), Red, Hot and Blue (1936), Leave it to Me (1938), Let’s Face It (1941), and Dancing in the Streets (1943). Great to be Alive (1950) was the last play Freedley produced. In addition to his production activity, Freedley became president of the Actors Fund of America, and president of the Episcopal Actors Guild of America. He was also president of the American National Theater and Academy (ANTA).

When Aarons and Freedley left the Alvin Theater, the management reverted to the building’s original owner, A.H. Pincus, and his nephews Norman and Irvin Pincus. Under their guidance, a period followed when Theater Guild productions were moved into the Alvin Theater from the Gui

investment manager job description