"Villa Gerdrup", the J. W. von Rehling Quistgaard Place, at Oyster Bay, Long Island

 

WHEN, a few years ago, J. W. von Rehling Quistgaard, the Danish portrait and miniature artist, set himself the task of creating an ideal home in the country, the first consideration was, of course, an ideal location. Born and brought up on the water’s edge, he desired a home as near the sea as possible. Since the house was to include a studio facing more or less to northward and at the same time commanding a sea view, his choice naturally fell upon the North Shore of Long Island. There, in the desirable Oyster Bay section, and thus within a convenient motor ride of New York, he found his home site—on the open Sound, with a growth of native oaks and evergreens and so situated that the house could be built with an exposure making for the maximum of indispensable sunshine.

"Villa Gerdrup", the J. W. von Rehling Quistgaard Place, at Oyster Bay, Long Island

E. Belcher Hyde, Inc. in 1927

With the viewpoint of a European hailing from a country of the North, and one accustomed to living in a house none the worse for being a few centuries old, Mr. Quistgaard’s next consideration was a “built to last” structure. For this was to be an all-the-year round home, warm in winter as well as cool in summer. This, of course, suggested fireproof construction of brick, hollow wall tile and reinforced concrete. As for the architecture, it may be said to be in a sense an original composition, since it grew from the imaginings of the owner. It suggests Italy and Spain in some of its lines, but there are marked Danish touches. Pink was decided upon as the color of the stucco, partly because Mr. Quistgaard desired to emulate in this country an artistic treatment with which he was familiar in Europe and partly for the practical reason that it was best to select a tone which would not be trying to the eye under the effect of strong sunshine and dazzling reflections from the water. Pink being the complementary color of the predominant blue of sea and sky, the result is admirable and the picture is a most fascinating one—alike when the surrounding foliage has the fresh green of springtime and when the oaks have put on their beautiful autumn coloring. The color, which is an integral part of the stucco, was arrived at only after long  experimentation on the part of Mr. Quistgaard, who mixed himself the Venetian red with coarse sand, white cement and lime. The especially designed terra cotta ornament was the object of similar study. Green is most prominent in this ornament, but there is a slight use of blue and gold. At first the blinds were green, but the color has been changed to blue and to distinct advantage. A striking feature of the house is the roof garden, which serves the double purpose of elevating the central structure above the wings and of providing a delightfully secluded retreat with a wonderful sea view on one side and a wooded view on the other.

THE DELICATE ROSE STUCCO, RELIEVED BY BLUE BLINDS, IS IN DELIGHTFUL CONTRAST TO BOTH SKY AND FOLIAGE

The house is approached from the highway by a long straight drive and directly one enters the door the straight view is continued to the Sound—indeed, to the opposite shore. The hall has an arched opening into the inner hall, of which the solarium, with its nine large one-pane windows, is a continuation. Three of these windows have the sea view and all look out upon a broad brick terrace whence a straight walk leads to the beach. At the left of the hall the studio is reached through the living room, while at the right is the dining room. The halls and solarium have tiled floors, and the staircase has brick steps. Brick is also effectively used in finishing the arched doorways of the halls and the coping. The living room and studio fireplaces are also of this material. As the bricks had to be cut and furthermore rubbed together to bring about the desired soft finish, the final effect was achieved only after many difficulties with bricklayers unaccustomed to such methods. Each of the bedrooms opens on a balcony and all have the sea view with the exception of the one planned for the owner’s children, which has a sunny southern exposure.

THE EXTERIOR ORNAMENT AND IRONWORK DESERVE THIS CLOSER VIEW

While Mr. Quistgaard himself drew the plans of the house to scale, he had the cooperation of the staff of Kirby & Petit, architects. In particular credit is due Vilhelm Kiorboe, the Danish architect, who designed the terra cotta ornament of the exterior and also the big fireplaces, al though the owner is responsible for the polychrome decorations of the latter and for the general scheme of interior decoration. A third Dane, Peer Smed, the artist, designed the fine wrought copper work on the front door, the outside grills and some of the other details.

ANOTHER ESPECIALLY DESIGNED FIREPLACE IS THE DOMINANT FEATURE OF THE EXTREMELY COSY LIVING ROOM

THE STUDIO, WITH CHESTNUT WAINSCOTTING AND WHITE PLASTER, HAS AN UNUSUAL BRICK AND POLYCHROME FIREPLACE

THE DINING ROOM, ENTIRELY IN WHITE AND WITH MAHOGANY FURNITURE, ALSO HAS A THREE-PART VIEW OF THE SOUND

LOOKING FROM THE INNER HALL THROUGH THE SOLARIUM THERE IS A WONDERFUL SEA VIEW IN TRIPTYCH EFFECT

ON THE WATER SIDE THE SOLARIUM OPENS ON A BRICK TERRACE, WHERE THERE IS A STRAIGHT WALK TO THE BEACH

The charm of Villa Gerdrup lies in the completed picture. It is the perfect realization of a discriminating artist’s dream, finely thought out down to the last architectural, decorative and landscape detail. Despite the fact that there is no hard and fast adherence to an established style, there is nowhere a discordant note to be found. And the more familiar one is with this place, the more insistent is its appealing charm. But of all it is, as it was expressly intended to be distinctly livable. It is, first of all, and most of all, a home in the finest and every sense of the word.

The surrounding landscape treatment is studied and yet has the appearance of being unstudied; only the long entrance drive and the straight walk from the terrace to the beach—lined with specimen privets, trimmed in ball shape—have any aspect of formality. There has been a certain amount of necessary grading and much planting of shrubbery, but the dominant tree note is as nature left it—with oaks in the majority. While the strip of land is quite narrow, all sense of narrowness is lost because the native trees blend with those on the two adjoining estates. On the sea side there is naturally nothing to interrupt the view of Long Island Sound, as shade is not required for the northerly exposure. During the summer there is a constant panorama of the Sound steamers as well as the yachts from the Seawanhaka and other important clubs in the neighborhood of Oyster Bay.

*** "Villa Gerdrup" no longer stands. ***

Mrs. M. Von Rehling Quistgaard Sells Fine Estate at Bayville New York Tribune • 28 Sep 1922

Henry A. Rogers, of the Wheatley Hills Real Estate Corporation, sold to Mrs, Albert S. Laflin, represented by Douglas L. Elliman & Co., for Mrs. Margaret Von Rehling Quistgaard, wife of the Danish miniature and portrait artist, her country estate at Bayville, L. I., fronting directly on Long Island Sound. The house was designed by Vilhelm Kiorboe, a Danish architect. The general lines of the house are suggestive of both Italy and Spain. The grounds have been highly developed. There is a brick terrace over looking the Sound. The property consists of three and one-third acres. It is one of the most attractive country estates in that section. Mrs. Laflin purchased the house furnished. 

ALBERT C.  LAFLIN DEAD 

Albert S. Laflin, a grandson of the late Matthew Laflin, and the only surviving son of the late Lycurgue Laflin, is dead at the Hotel Royal, in Nice, France. He was in Chicago three months ago and at that time was in excellent health.

The above paragraph, which appeared in a metropolitan paper Thursday, recalls to the elder residents of Mattoon the romance of pretty Hettle Nall, who, now a widow, is watching beside the remains of the man who rescued her from obscurity and made her, as his wife, a person of unquestioned prominence in the world of affairs. Mattoon Morning Star • 19 Apr 1907

Reproduction of an etching by Helleu of Mrs. Gardner Dixie Jones, who formerly was Mrs. Albert G. Laflin, widow of a Chicago millionaire.

St. Louis Post-Dispatch • 06Jun1911 - Mrs. Jones' first husband was a son of Lycurgus Laflin of Chicago and a grandson of Matthew Laflin. She is described as a strikingly handsome woman nearing 40 and the estate her husband bequeather her is estimated variously from $1,000,000 to $2,000,000.

Mr. Gardner Dixie Jones was a Christian Science healer from St. Louis, MO. Jones was a son of the late Ethan Allen Jones, a St. Louis carriage manufacturer. After leaving St. Louis he spent part of his time in Chicago. He is a member of an old family of Southern origin.

Jones and Mrs. Laflin met during the last illness of Mrs. Carroll Brown, who was Mrs. Laflin’s closest woman friend. Mrs. Brown was a daughter of Marcus Daly, the Montana copper king.

They divorced in 1915, she sighting "mental domination".

Half-Length Portrait of a Seated Woman, Smoking a Cigarette, Facing Left
Paul-César Helleu, 1859-1927

One of Helleu's etchings of Mrs. Laflin was called "The Lady and the Cigarette” and it created a stir in Chicago society when it was exhibited there.

In it Mrs. Laflin was shown with a cigarette between her fingers, but she declared that she did not smoke it.

Two Men’s Views of Mrs. A. C. Laflin -  

HERE are opinions two famous men expressed about Mrs. Albert C. Laflin:

PAUL HELLEU, the noted etcher: "She Is the most beautiful American I have ever seen."

GEORGE ADE, humorist and playwright: "She is the most entertaining woman in the world."

Albert Laflin pursued 

"Villa Gerdrup"
Ancestral home of J. W. von Rehling Quistgaard
Skaelskor, Denmark

Portrait Of A Society Lady
JOHANN WALDEMAR DE REHLING QUISTGAARD, New York/Denmark, 1877-1962,  Oil On Canvas, 29" X 24".

Johan Waldemar Rehling-Quistgaard Sold at Auction

Peer Smed in his workshop.
ChicagoSilver.com 

HOUSE OF D. C. NORCROSS LOS ANGELES - ROLAND E. COATE, ARCHITECT

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

Commissioned by petroleum executive David C. and Irene Norcross on a prominent hill overlooking the Bel Air Country Club. The house features many Monterey Revival influences, as well as some intricate ironwork on a double-height balcony which references the architectural styles in New Orleans. The landscape plan was designed by A.E. Hanson.

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

HOUSE OF D. C. NORCROSS  LOS ANGELES
  ROLAND E. COATE, ARCHITECT

Site: instead of stepping down the various rooms with the grade, ground was excavated so that the house itself rests practically level.

Roof: rough laid hand-made tile, almost yellow in color.

Walls: covered with Gunite which in turn has been given a hand trowelled coat of stucco, resembling old-fashioned lime plaster in texture and color.

Color scheme: walls are pure white. Some windows are painted antique yellow, others green. Shutters are green; likewise the iron work.

Roots of Style: Colonial Monterey Sets the Stage for Unique Design

The house was torn down during an expansion of the property next door at 671 Siena Way. 

AN ITALIAN HOUSE IN CALIFORNIA - THE PAUL PARIS HOUSE - ARMAND MONACO, ARCHITECT

THE RESIDENCE OF MR. AND MRS. PAUL PARIS IN BEL-AIR. LOS ANGELES, CAIJFORNIA. ARMAND R. MONACO, ARCHITECT.

 

SET on a hill overlooking Los Angeles, which stretches away to the south, is a new home which brings an echo of fair Tuscany into California. Many levels make the house fit the hill, for no deep cutting is necessary when a hill house is built on a hill; and much interest is added to the house when its fenestration can be made a delightful, decorative feature. Tile roof, dove cote and chimney, broken lines and overhanging story, all unite to make this house a climax to the hill.

HOME OF PAUL PARIS. BEL-AIR.
ARMAND MONACO. ARCHITECT

The entrance is formal as becomes the dignity of Californian hospitality. The garden is the intimate playground of the master who loves to place his vines and plants where they will be happiest.

THE GARAGES HAVE BEEN PLACED ON THEIR OWN LEVEL NEAR THE ENTRANCE TO THE FORECOURT. THE ROOF IS A DANCE FLOOR.

THE EAST FACADE OF THE PARIS HOUSE.
 ARMAND MONACO, ARCHITECT

On one eastern level is a great oak under which are the tables and chairs of those who live out-of-doors, on the next level below, to the southeast, is a great swimming pool and in the forecourt a beautiful marble wellhead from Italy.

DETAIL OF THE PAUL PARIS HOUSE.
ARMAND MONACO ARCHITECT; MONTI STUDIOS, DECORATIONS BY ALFREDO ORSELLI.

The interior is most interesting because of the keen sympathy between the architect and the client. Opposite the entrance is a wide doorway into the handsome drawing room. Two or three steps lead down to this, the important level of the house. 

THE SOUTH FACADE SHOWING END OF THE UPPER PORCH

Wide windows open out to the glorious view of city and the distant harbor. In the immediate foreground is a half circle of lawn edged by a balustrade and centered in a great statue, the discus thrower. To the right one steps down again into the library, and below it to the west is an open loggia or billiard room. Thus every level is used and made to add to this interesting hill house; no one level could be so charming, no flattened hill top so full of variety and beauty.  

IN THE STATELY DINING ROOM THE WINDOWS OPEN TO THE EAST. DECORATIONS BY MONTI STUDIO, ALFREDO ORSELLI AND R. MONTELBODDI.

The dining room, whose three great window's are enclosed in a balcony railing of wrought iron work, is a room of dignity, and its accompanying breakfast room in the octagon adds its dainty beauty of morning-glory colors as a foil. Above it is the second story porch and each bedroom has its privacy increased by having its own level.

For furnishings M. Paul Paris has imported from his native Italy many beautiful objects of art and, having directed the building of his own home, has succeeded in making its furnishings appropriate to the Italian architecture.

Yet in no way has the architect, himself an Italian trained first in America and then in Italy, been thwarted in his successful effort to make a California house perfectly adapted to our scenery and the contours of the beautiful hill country northwest of the metropolis.

THE CEILING OF THE DRAWING ROOM IS DELIGHTFUL IN THE RESTRAINED BEAUTY OF DECORATIONS. MONTI STUDIO, BY R. MONTELBODDI

From the Monti Studios has come the beautiful decoration of the ceiling. Softly the design has been wrought on the wooden beams and between them. Beautiful in itself is the design, restrained, and yet gratifying the desire for color and clever outline.

THE CEILING OF THE DINING ROOM. MONTI STUDIO, DECORATORS BY ALFREDO ORSELLI. BORDERS BY R. MONTELBODDI

In the Dining Room, which opens to the east, is the beautiful ceiling with the center panel, by Alfredo Orselli, representing the Aurora welcoming the dawn. 

An effort was made to show in this issue the  exquisite color scheme of this ceiling. But it proved impossible to reproduce it. Yet, in black and white the satisfying quality of the composition and its surrounding pattern is manifest. Mr. Alfredo Orselli, responsible for the painting of the Aurora panel and also the great Chevalier in the entrance hall, and Mr. Montelboddi, responsible for the painting of the living room ceiling, the decoration around Mr.Orselli’s dining room ceiling panel and the Pompeiian bath room, have made it possible, in the application of their early Italian training and work at the easel, for California to share this beauty of Italian interiors with its rich Pompeiian red and black and its dignity.

THE POMPEIIAN DECORATIONS OF THE BATH ROOM ON THE SECOND FLOOR TAKE THE HISTORY OF THE VASE AS MOTIF. R. MONTELBODDI DECORATOR. ARMAND MONACO, ARCHITECT. LOS ANGELES, CALIFORNIA

Altogether this house is a distinct addition to our Californian architecture of the home and forms a relief to the more severe types which have by their square masses failed to express the variety and beauty of California which, as shown below, is like that of Italy.

CALIFORNIA SOUTHLAND COVER - JULY, 1927
A Design by Claude G. Putnam

I've yet to find location or if the home still stands. The only mention I've found for Paul Paris is a Los Angeles Times article from 1921. 

 

September 21, 1921

BRYSON APARTMENTS

"HOTEL MAN BUYS LEASE ON BRYSON

Paul Paris Closes Deal Here Involving Nearly Million Dollars

The size of the furnishings, together with the execution of a new long-term lease, on the "Bryson Apartments", at the corner of Wiltshire Boulevard and Rampart street to Paul Paris, who recently disposed of his interests in the Angelus Hotel, was announced yesterday by Carson-Minster & Co., hotel brokers, who handled the transaction. Through this deal, Mr. Paris has acquired a twelve-year lease on the big building, at a total consideration of almost $1,000,000

Mr. Paris also was formerly identified with some of the leading hotels of Seattle and Portland." 

https://la.curbed.com/2018/4/6/17182172/raymond-chandler-los-angeles-history-bryson

The Monaco Family; Armand Monaco is the gentleman on the upper left with the full head of hair.

Some notable homes designed by Armand Monaco - 

Villa Monaco

Armando Monaco: An Immigrant Architect Builds His Dream Home

Former beach home of J.J. Haggarty. Current site of The Neighborhood Church in Palos Verdes Estates.

Residence for Betty Blythe in 1925. 

Betty Blythe(1893 – 1972) was known for her dramatic roles in exotic silent films such as The Queen of Sheba (1921); she was one of the first actresses to appear in the nude in film during the Roaring 20s. 

A DAY'S PHEASANT SHOOT AT "CAUMSETT"

 

A DAY'S PHEASANT SHOOT
SHOWING SEVEN DRIVES ON THE MARSHALL FIELD ESTATE - LLOYD NECK, L.I.

IT IS 7:30 o’clock of a late November morning on the 1,200-acre estate of Marshall Field on Lloyd Neck, Long Island. Standing along the right of the long driveway near the house are thirty employees of the estate, the men who keep the woods in order, or make paddocks for the polo ponies, cut the lawns, trim up the rock gardens and woody glades.

"Caumsett" Horse Transport Trailer

It is 7:30 in the morning, and they have two hours to wait for a glass-paneled Buick omnibus to come down the driveway from the mansion followed by two Reo trucks.

In the omnibus are Mr. Field’s ten guests for the day’s pheasant shoot. One of the trucks is full of ammunition and men to put it into the guests’ guns. The other truck is the vehicle which, after each rise of birds, will return with dispatch to the larder, where men are ready to hang up the game that has been killed.

The Pheasant on Long Island 
Courtesy Dr. Edgar Burke
Fortune 1931

The birds are brilliant. They are waiting quietly in the woods which the thirty woodsmen—who this morning are called beaters—will soon enter. They are ringnecked pheasants and—even more dazzling in the shafts of early sun this autumn day—a cross between the ring-neck and the Versicolor, a cross called Melanistic Mutant, which Mr. Field’s Scottish gamekeeper and landscape engineer, Douglas Marshall, evolved to satisfy himself that Melanistic Mutant was not a strange new species but just an accident. 

Gamekeeper Douglas Marshall

Douglas Marshall is a competent and intensely interested person, is ready to take his place in the center of the strung-out line of beaters. He will do this as soon as the shooting guests have been driven down a grass-carpeted clearing in the woods to the meadow where the first stand is made. Three months ago this meadow was belt high with goldenrod. Now it it mowed clear and is the edge of the rising wood.

Strung out up the shorn goldenrod field are stakes with cards wedged in their tops. On each card is a number. The shooters have drawn for places; each takes his place, his loader behind him. No. I standing far up the field and somewhat around its far corner, so that to No. 10 the line of guns makes a shallow arc. The sportsmen take shells from their loaders (No. 5 or 6 shot, three drams of powder), and sniff the morning air, eye the wood. 

They come to sharp attention as a bugle sounds down the hill. That is Gamekeeper Marshall starting the first drive. The gunners begin to hear a sound of sticks tapping against trees.

A group of pheasants is called a bouquet. This term is used for pheasants when they are flushed. When they are flushed, they fly away forming a beautiful colored spectacle that looks like flowers.

The fine, meticulously planned objective of Gamekeeper Marshall’s year long job is to make sure that his pheasants shall fly at each rise high and fast over the line of gunners, and in a steady stream, not a sudden, uncontrolled burst. To this end he captains the line of beaters from the center to keep it steady and even. The birds are fed in this first wood. They are plentiful (perhaps 600 of them) and comparatively tame on this first drive of the day. As the beaters come through, tap-tapping steadily on tree boles, a thickening throng of graceful, running shapes, their rustle increasing as the number grows, moves toward the clearing where the gunners wait. The crest of the hill is reached. A few birds take wing, the hens with a soft rush of wings, the brazen-purple breasted cocks with a cackling cry that is the first loud sound of the morning. The next loud sound follow’s. The sport is on.

All that remains of the buildings in this area are some foundations and fence posts. Two long clearings mark the location of the outdoor part of the pheasant pens.

As the birds sail out over the exploding line of the shooters, their number is thinned, and the tumult of the scene is dully punctuated by the thud of dropping birds on the coarse turf. At this first rise, 135 birds or so will be killed. Cripples that streak, hobble, or coast across the open ground into the next cover will be marked by the loaders or by Gamekeeper Marshall and his line of beaters, who now emerge from the brush on the hill’s crest. The dogs are brought on to retrieve—four or five strong, sleek Labradors in black or gold. Pipes and cigarettes are lighted while the field is cleared and the guests assembled at the glassed-in bus.

ON TO STAND NO. II

Careful as any police chief or fight promoter, Gamekeeper Marshall has the next drive half organized already. Three or four of his oldest, most trustworthy men have been posted as “stops” all this while on the next lane to the westward (see map), each with a white flag which he has been waving gently to keep birds from the first rise, or already in the second cover, from running beyond the lane in their fright at the sound of guns. As the guns reach Stand No. II, the stops move to their next station.

"Caumsett" Aerial 1937

Meantime, the order of shooters has changed. No matter what celebrated marksman may be present, he and all the rest move down the line of gunners one number, so that No. 10 is now No. 1. And on this drive there are four walking guns. The four highest numbers walk. They walk through four “rides” (bridle paths) thoughtfully cut for them through the cedar and sumac thicket that constitutes this second cover. They walk just behind the line of beaters, and their instructions are that they may shoot only birds which double back over the beaters’ heads. Shooting at birds forward (or at rabbits) puts one in disgrace or out of the field altogether. But a walking gunner will have little temptation. This second cover is small; the fun soon begins. The line of guns on the lane becomes loudly audible before the walking gunners are anywhere near range. The latter halt when they come to stakes again marked for them. On goes the banging until the last bird has risen and the autumn scene falls quiet again save for the voices of men with dogs, men making alibis or apologizing.

1930 aerial showing the open fields.

Hardest shooting of all in this day’s round at the Field estate is at Rise No. IV. Here Gamekeeper Marshall “drives blank” (without guns at the clearing) a cover 400 yards long, to fill the far corner of the woods with all the  birds that have been missed on the first three drives plus many more not yet started. The line of beaters then splits, reunites at the eastern edge of the wood (by the highway), and starts back.

Remains of Gamekeepers' Cottage 

The guns are placed on ground which slopes sharply toward them, and which is crowned with locusts of a size seldom seen off Long Island. Many of the birds that will now fly have been so thoroughly frightened before this that they will rise late, fast and high before the beaters’ urging. They will be forty to sixty yards in the air going over, the truest test yet of eyes, fingers, and guns which may have been killing well among birds that flapped or coasted over. These birds are corkscrewing for altitude and rocketing for speed. Gamekeeper Marshall knows who can shoot and who can't after Rise No. IV—where everyone eats lunch after the banging is done.

View from 2020 showing Meadow Lane and the homes built in the once open field. Street above Meadow Lane - Ring Neck Ridge pays homage to all the slaughtered birds.

There are three more drives after lunch. Especially fine and sporty is the Berry Rise, over the ruin of a house where lived a man named Berry. The corner of the six-foot fence which again causes the running birds to seek sudden altitude is guarded by a white pine towering even above the giant locusts. Berry Rise is hard shooting, but the cover is an especially rich one. Not less than 150 birds, and perhaps 185, should be taken here by ten guns.

Farther on is Rise No. VI, where a double line of gunners is formed by Gamekeeper Marshall because the cover is narrow and thick. The day’s shoot illustrated by the map is one of four available on this acreage. The whole plan affords a two-day shoot every two weeks from late November through February, with 4,000 to 7,000 birds raised in the breeding pens according to weather and luck with plagues. ***Their descendants can occasionally still be seen roaming in the woods and fields. ***

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RAISING PHEASANTS ON LONG ISLAND
 Advice to the Beginner on Incubation, Rearing and Control of Vermin By DOUGLAS MARSHALL Gamekeeper at Caumsett

https://en.wikipedia.org/wiki/Caumsett_State_Historic_Park_Preserve

COVER - FORTUNE - 1931

John P. Meyer House, Designed by Eames & Walsh, Huntleigh, MO

A new owner has purchased property and is in the process of restoring the home to the designs of Eames & Walsh. Follow page for updates.

https://www.facebook.com/John-P-Meyer-House-Designed-by-Eames-Walsh-Huntleigh-MO-106045941459637/