Golf in the Gilded Age:
Robber Barons, Railroads, and Resort Hotels
4: Tycoons and Patronage
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American golf had its birth in the Gilded Age (1870s-1890s),
and by the close of the 19th century the United States had more golf courses
than Britain. This start is inextricably intertwined with the dominant
Tycoons of the day, and this in turn entangles the foundation of golf
in America with the expansion of their railroads and their associated
Grand Hotels in exclusive resort locations.
From 1900 to the advent of WWII, golf in America added sinew
and muscle on this underlying frame to make the Resort golf experience
truly spectacular and widely accessible outside the echelons of elite
society. The enduring legacy has been that the popularization of golf
in America is indelibly stamped with the watermark of excellence set by
these fabulous early Resorts.
Tycoons and Patronage
 A.
Patronage of Art, Architecture and Land Development
Beaux-Arts Architecture / Arts & Crafts / Art Nouveau
Aesthetic
Beaux-Arts architecture denotes the academic classical architectural
style that was taught at the École des Beaux Arts in Paris. The
style "Beaux-Arts" is above all the cumulative product of two and a half
centuries of instruction under the authority, first of the Académie
royale d'architecture, then, following the Revolution, of the Architecture
section of the Académie des Beaux-Arts. The organization under
the Ancien Régime of the competition for the Grand Prix de Rome
in architecture, offering a chance to study in Rome, imprinted its codes
and esthetic on the course of instruction, which culminated during the
Second Empire (1850-1870) and the Third Republic that followed. The style
of instruction that produced Beaux-Arts architecture continued without
a major renovation until 1968. The Beaux-arts style influenced US architecture
in the period 1885Ð1920.
Carrere & Hastings
http://www.nyc-architecture.com/ARCH/ARCH-CarrereHastings.htm
McKim, Mead, and White
http://www.nyc-architecture.com/ARCH/ARCH-McKimMeadandWhite.htm
Stanford White, one of America's most prominent architects,
was born in 1853. His creativity, talent and versatile draftsmanship were
responsible for the foundation in the 1880's of one of the country's most
prestigious architectural firms, McKim, Mead and White. During his prominent
career, White was commissioned to design a broad range of private residences
and public institutions, some of which are historical landmarks today.
From the homes of New York's exclusive families to one of the country's
most renowned entertainment arenas, his designs continue to leave many
in awe. White's architectural portfolio includes The Washington Square
Arch, a Fifth Avenue mansion formerly owned by the Rockefeller family,
The New York Herald building, The Tiffany building, The Boston Public
Library, several branches of The New York Public Library, and The Bowery
Savings Bank building, which is now home to New York's hottest event space
and restaurant, Capitale.
The "White City" of the World's Columbian Exposition of
1893 in Chicago was a triumph of the movement and a major impetus for
the short-lived City Beautiful movement in the United States. Beaux-Arts
city planning, with its Baroque insistence on vistas punctuated by symmetry,
eye-catching monuments, axial avenues, uniform cornice heights, a harmonious
"ensemble" and a somewhat theatrical nobility and accessible charm, embraced
ideals that the ensuing Modernist movement decried or just dismissed.
The first US university to institute a Beaux-Arts curriculum was MIT in
1893, when the French architect, Constant-Désiré Despradelles
was brought to MIT to teach. Subsequently the Beaux-Arts curriculum was
begun at Columbia University, The University of Pennsylvania, and elsewhere.
The best known architectural firm specializing in Beaux-Arts style was
McKim, Mead, and White.
http://en.wikipedia.org/wiki/Beaux-Arts_architecture
The movement became aware of itself in 1880's when it first
gave itself a name and it was in that decade that it emerged with recognizable
message, it began to flourish in the 1890's and it achieved its most brilliant
effect in the decades around the turn of the century. The term Arts and
Crafts, in its own era, signified a general association of like-minded
artists, designers, manufacturers and crafts people. And although they
were highly individualistic and could not be pinned to a definable style,
they shared many ideals: honest construction and simplicity of form, fitness
for purpose, harmony between the man-made and environment, the revival
of traditional craft techniques and the inherent qualities of natural
materials. If forced to pinpoint the four universal principals they would
be -- design unity, joy of labor, individualism and regionalism -- these
combined to create the Arts and Crafts approach. What began as an English
movement, eventually found its way to the Continent and America. In Northern
Europe designers were inspired but didn't necessarily follow its model.
Only in America was it directly copied, adapted and developed on a parallel
tract. The American movement's zenith lagged a decade, or so, behind the
British movement, but both flourished in an age of prosperity, ironically
created by industrial achievement. Likewise the movement's decline can
be traced to economic weakness -- the Great War in Britain and the Depression
in America.
http://www.golfclubatlas.com/opinionmacwood2.html
Throughout New England new summer colonies developed in
the mountains and along the coast, the common denominator being an appreciation
for the Shingle Style of architecture and excellent golf. The Shingle
Style was an American fusion of Old English and the native Colonial style,
wooden structures with a skin of shingles which became the region's universal
resort style. Charles Follen McKim, Stanford White (CB Macdonald's good
friend), HH Richardson and Bruce Price were among the most prominent proponents
of this style which stretched from Bar Harbor to the Hamptons, and examples
include the Shinnecock Hills clubhouse and Donald Ross's Rhode Island
cottage Quaker Hills Farm. A combination of native golf architects and
imported talents brought excellent golf courses to many of these summer
colonies, men like Ross, Herbert Leeds, Walter Travis, Devereux Emmet,
JD Dunn, Willie Park-Jr., CB Macdonald and his protégé Seth
Raynor.
http://www.golfclubatlas.com/opinionmacwood5.html
Gamble House, by Greene and Greene, Arts and Crafts design
in the midwestern "Prairie School" style later made famous by
Frank Lloyd Wright.
Another hotbed of the Arts and Crafts movement was Chicago.
In fact it could be argued that Chicago was where the most important American
movement emerged. The Prairie School was developed in Chicago by Louis
Sullivan and group of younger architects -- Frank Lloyd Wright, George
Elmslie, Walter Burley Griffin, William Gray Purcell, Dwight Perkins and
George Washington Maher -- all trained in his office. They created a distinctly
regional style featuring 'refreshingly open interiors and strong horizontal
lines, the Prairie House clearly evoked the freedom and sweep of the limitless
midwestern landscape.' Ironically it was Ladies Home Journal that first
exposed Wright and the Prairie style to the nation. And as Wright and
his colleagues were spreading their Arts and Crafts designs throughout
Chicago and the Midwest, Charles Blair Macdonald was creating a similar
golf movement. It was his design for the Chicago Golf Club in 1895 that
would influence the entire Chicago golf tradition. Those who followed
included the Scot H.J. Whigham (Macdonald's future son-in-law), H.J.Tweedie
of Hoylake, Donald Ross, CH Alison, Seth Raynor and William Langford.
The early designs of Chicago GC, Onwentsia, and Midlothian exhibited a
geometric quality not unlike the Prairie School designs, and that general
style continued for decades. Although Macdonald was clearly the genesis
for this style, one can not discount Harry Colt's influence at Old Elm
and his assistant on the project Donald Ross, who produced a number of
outstanding Chicago designs, including Beverly, Oak Park and Evanston.
Oak Park was the home of Wright and many of his most famous works, it
is only fitting that Ross's course would be graced by a club-house in
the Prairie style designed by William Drumond.
http://www.golfclubatlas.com/opinionmacwood5.html
It was under this idyllic atmosphere that California golf
developed, although lagging a few years behind the other arts. The first
distinguished California designs arrived around 1917-1918 with Wilfred
Reid's Lakeside, AW Tillinghast's San Francisco and Neville&Grant's Pebble
Beach, although Pebble Beach's early expression was somewhat crude. But
following WWI the Golden State produced a succession of landmark designs
and redesigns created by Herbert Fowler, Norman MacBeth, Willie Watson,
Max Behr, George Thomas, Robert Hunter, H.Chandler Egan and Alister MacKenzie
-- a period of designs possibly unmatched anywhere at anytime. And the
Arts and Crafts connections were numerous. Robert Hunter lived in the
Arts and Crafts colony in the Berkeley hills until the great fire of 1923,
when he relocated at Pebble Beach. Hunter was instrumental in bringing
MacKenzie to California, resulting in the incomparable Cypress Point and
Pasatiempo. (Incidentally Hunter made his own study of Britain's courses
in 1912, inspired by his friend CB Macdonald) MacKenzie eventually made
his home at Pasatiempo, a home designed by William Wurster another Arts
and Crafts disciple from Berkeley. But probably the most unusual case
of the arts converging involves Tasmanian born painter Francis McComas.
McComas came to San Francisco in 1898, studying under Arts and Crafts
architect and artist Arthur Mathews, and eventually moving to Carmel in
1912 where he became an important A&C painter in his right. He was asked
to design the interior of the simple Spanish Colonial club-house at Cypress
Point (George Washington Smith), which he did shortly after its completion.
McComas, an avid golfer, was also responsible for designing several green
complexes at Pebble Beach including the wild fourteenth, one of the most
interesting greens in the world -- perhaps his greatest work of art.
http://www.golfclubatlas.com/opinionmacwood5.html
Frederick Law Olmsted
Olmsted Plan for the Capitol grounds.
Frederick Law Olmstead (above)
Stanford White (above)
Preminent Beaux Arts architect for the New York elite.
B.
Patronage of Golf Development - Early Course Designers
In 1891, William Vanderbilt and several wealthy friends
bought 80 acres north of present-day Sunrise Highway for $2,500 and hired
Shinnecock Indians to build a 12-hole course designed by Scottish professional
golfer Willie Dunn. The course was expanded to 18 holes four years later.
In 1891, the Shinnecock Hills Golf Club became America's first incorporated
golf club, granting women full membership from the start. It was also
the first to have a clubhouse, which was designed by famed architect Stanford
White.
By the start of the last decade of the 20th century, tennis,
hunt and yachting clubs were the principal activities of the well heeled
sporting enthusiast on the east end of Long Island. Golf had yet to arrive
but that changed when a group of men (including William Vanderbilt) occasioned
upon Willie Dunn at the resort in Biarritz, France in 1890. So taken were
the Americans by this 'new' sport of golf, they hired Willie Dunn to build
them a course in Southampton. Located on treeless, sandy soil, the property
had links characteristics though it was two miles from the Atlantic Ocean.
Willie Dunn's 12 hole course opened in 1892 and two years later, Shinnecock
Hills Golf Club joined The Country Club in Brookline, Newport CC in Rhode
Island, Chicago Golf Club, and St. Andrews in New YorkÊas a charter club
in the Amateur Golf Association of America (later re-named the United
States Golf Association)
The game of golf quickly took hold in the Hamptons and the
increased play forced the club to expand its course to 18 holes. In 1895,
the 4,400 yard course was deemed sufficient to host championships. Over
100 years later, the course is considered by many as the supreme test
for championship golf in the United States. P.J. Boatwright, the former
long time Executive Director of Rules and Competition at the USGA who
was not prone to extravagant praise, said in 1986 that he felt Shinnecock
Hills to be the finest course he had ever seen. However, the credit for
today's ruthless examination does not lie with Dunn or Macdonald/Raynor,
who consulted with the club during the 1910s. In 1927, the main east-west
highway was extended through to Easthampton and Highway 27 bisected Dunn's
golf course. With the increase in train travel and with the club unable
to acquire insurance to handle the doubling crossing of the road and the
train tracks, the club had little alternative but to purchase additional
land to the north and to forgo the portion of the course that lay to the
south of the road. This was actually no great loss as the newly acquired
land was superior in all respects. The club hired the architecture firm
of Toomey & Flynn to build them a new 18 hole course.
Work commenced in 1928 led by construction foreman Dick
Wilson, and 150 Shinnecock Indians were employedÊto help with the task.
The course re-opened for play in 1931 and it remains Toomey & Flynn's
undoubted masterpiece to this day. Located on an immense 300 acre block
of land, Toomey & Flynn took full advantage of the scale of the property
with a brilliant routing. A majority of the holes bend one way or another,
thus the golfer is forever figuring out which way the wind is attacking
for each shot. There are only two times (with the 2nd and 3rd and the
11th and 12th holes) where consecutive holes run in the same direction.
The prevailing wind was a key factor in the design, as the holes that
typically play downwind (e.g., the 3rd, 12th and 14th) are longer but
also open in front to allow the player to bounce the ball onto the green.
The holes that are typically into the wind are shorter (e.g., the 4th
and 13th) with tighter targets. There are only two par fives (the 5th
and 16th), and each plays in opposite directions. While the 5th was intended
to be played with the wind helping and the 16th with the wind hurting,
each plays well if the wind turns 180 degrees.
http://www.longislandgolfnews.com/2004%20US%20Open/Shinnecock%20founding.htm
Willie Dunn Jnr.
International designer known for Biarritz course, then an
international spa, where he met the Vanderbilts, who brought him to Shinnecock
Hills.
THE DUNNS The Dunn twins, Jamie and Willie Senior were born
in Musselburgh in 1821. They both took up employment with the Gourlay
family as apprentice ballmakers at Bruntsfield. They both played in many
challenge matches between 1840-1860. Willie Dunn was keeper of the green
at Blackheath Links until 1864 when he returned to Leith Thistle before
settling at North Berwick. Willie had two sons who were Tom and Willie
Junior. Young Willie served as professional at Westward Ho! for a few
months in 1886, before moving to Biarritz. It was while he was in France
that the Vanderbilt family invited him to Shinnecock Hills on Long Island
as greenkeeper and professional. The course was a 12 holer to which Willie
added a ladies course and then in 1895 combined the two into 18 holes.
Willie remained at Shinnecock for several years and won the first unofficial
US Open in 1894.
http://www.musselburgholdlinks.co.uk/history/heroes.html
WILLIE PARK JUNIOR (1864-1925) Young Willie as a player,
designer and manufacturer of clubs and balls, course architect, writer,
businessman and personality, was to become one of the outstanding professionals
of his generation. From 1880 to 1894 Willie served as assistant pro/greenkeeper
under his uncle Mungo at Ryton in England. He then returned to Musselburgh,
joining his father in the club and ballmaking firm of W. Park and Son.
Continuing to refine his game, he won the Open in 1887 and in 1889 at
Musselburgh. He laid out links and courses with his father and uncle,
and later on his own with construction assistance from brothers Mungo
and Jack. Two of Willie's courses, Sunningdale GC and Huntercombe GC,
became landmarks in the history of course architecture. Willie first travelled
to the USA in 1895 and worked there until 1898 promoting golf and laying
out courses. When he returned to the USA in 1916 he became inundated with
requests to design and redesign courses, he worked on over seventy courses.
Willie Park Jr.
http://www.musselburgholdlinks.co.uk/history/champions.html
Walter J. Travis (1862-1927)
Walter Travis in 1909:
Ekwanok CC (1899, with JD Dunn), Garden City GC (Long Island)
(1908), Pine Valley, National Golf Links, many others.
http://en.wikipedia.org/wiki/Walter_Travis
http://buff-golf.com/travis.htm
http://www.wghof.com/hof/member.php?member=1115
Midwest Expansion: Chicago & St Louis
CB MacDonald (1855-1939) - Chicago co-founder of USGA and
course designer - with partner Seth Raynor
Charles Blair MacDonald in 1895
http://www.golfclubatlas.com/interviewbahto.html
http://www.golfclubatlas.com/interviewbahto2.html
http://en.wikipedia.org/wiki/Charles_B._Macdonald
http://www.golftodaymagazine.com/0309sep/c_b.htm
Chicago Golf Club (1st 18-hole course in America) (1893)
http://en.wikipedia.org/wiki/Chicago_Golf_Club
National Golf Links of America, 1907-1910
Shinnecock Hills redesign 1916
Yale University GC
Foulis brothers, eminent midwestern architects
Feature Interview with Jim Healey July 2003 Jim Healey is
a St. Louis golf writer. In 1996 he published 'Golfing Before The Arch;
A History of St. Louis Golf' that chronicled golf in the Bi-State region
form 1895 - 1996. He interviewed dozens of area golfers and related individuals
for the book including; Judy Rankin, Hale Irwin, Bob Goalby, Jay Haas,
Keith Foster and Tom Wargo. More recently he has written club histories
for some of the oldest St. Louis clubs, including Glen Echo CC (1901),
Algonquin GC (1903) and Norwood Hills CC (1922) site of the 1948 PGA.
A member of the Golf Writers Association of America, Jim has published
dozens of articles related to St. Louis area golf and its history. His
research led him to the Foulis family and their illustrious history as
part of the growth of golf in the Midwest. 1. Please provide a little
background on the Foulis brothers. There were five Foulis brothers, Dave,
Jim, Robert, John and Simpson. Of these, all but John were golfers - though
John was an expert ballmaker and did work as a bookkeeper at Chicago golf
from 1901 to his untimely death in 1907 - and only Simpson remained an
amateur throughout his life, while the remaining three were professionals
at some of the most prestigious clubs in America. They were born in St.
Andrews, Scotland and lived at 166 South Street, just four blocks from
the Old Course. They came to America between 1895 and 1905 and made their
mark on dozens of courses and clubs from Minnesota to Missouri and from
Chicago to Denver. They are all buried at the Wheaton Cemetery, adjacent
to the Chicago Golf Club, the site where most of them made their mark
and where Jim and Dave spent many years as pioneers of golf in the western
United States.
3. How and why did they come to America? In late 1894, following
the construction of America's first and oldest eighteen-hole golf course,
Chicago GC, Charles Blair Macdonald wrote to Robert to come to America
for the position of golf professional at his new course. Macdonald and
the Foulis' had met when he was a student at St. Andrews University, where
Macdonald lived with his grandfather, and had obviously thought highly
of their skills. Robert, who was still under contract to Ranfurly, would
not think of breaking his commitment to them, so in his place he recommended
his older brother Jim. Jim had learned his golf from Old Tom as well,
and had also worked for Forgan & Company. An excellent player, he and
Robert had had many great matches over the Old Course. Arriving in this
country aboard the SS Umbria out of Liverpool on March 11, 1895, it wouldn't
take long for the 24-year old to quickly make his mark. Jim immediately
traveled to Chicago where he became the first golf professional at Chicago
GC, and the first golf professional in the western United States. In the
summer of 1895, Jim cabled Robert that he had a contract for him to design
a course in Lake Forest. Robert arrived on July 13, 1895, aboard the ship
SS St. Louis by coincidence, and began work on the course over the next
several months. The new Lake Forest CC opened in 1896 with their 9-hole
layout. Today that course is part of Onwentsia Club. Dave arrived in March
1896 and went to work with Jim at Chicago GC. In 1899 James Sr. and the
rest of his family made the journey to Chicago where most lived for the
remainder of their lives.
Jim took advantage of his newly earned reputation and he
began to further his architecture career. In 1896, he traveled to St.
Louis where he designed the original 9-holes for St. Louis Country Club
at their original site. Seventeen years later, in 1913, St. Louis would
move to their present site and the club contracted with C.B. Macdonald
to design their new course. From 1896 through 1927, Jim continued to design
courses throughout the Midwest. Some of these include; Denver CC (1902),
Geneva GC (1901), DuPage County GC (1901), Lake Zurich GC (1895), Kinloch
GC (1898), St. Louis Golf Club (1898), Florissant Valley CC (1899), Milwaukee
CC, Newspaper GC (1900) Memphis CC (1905), Hickory Hills CC (1923), Hillmoor
GC (1924) Calumet CC (1911), Hinsdale GC (1898), Meadowbrook CC (MN),
Edgebrook GC (1921), Bonnie Brook GC, Burlington CC, Nippersink Manor
CC, Pipe O'Peace GC (1927) and Kent CC (1900). Lake Zurich, with a small
membership on Chicago's north side, is a course of only 2,865 yards and,
according to its members, is exactly as Mr. Foulis left it over a century
ago. While many of these courses no longer exist, one can see his influence
on early golf as he created courses where none had previously existed.
Jim collaborated with Robert, and occasionally with Dave as well, as they
designed and constructed additional courses. In many of instances, Jim
did the routing of the course, while the actual construction was left
to Robert. These include; Glen Echo (1901), Normandie (1901), Bellerive
CC (1910), Sunset CC (1917) and Wheaton GC (1909).
5. How did Robert end up in St. Louis while the other brothers
stayed in Chicago? Following Robert's success at Lake Forest, C.B. Macdonald
wrote a letter of recommendation for him and he traveled to Minneapolis
where he built the Town & Country Club. He would also construct the original
9-holes for the Minikahda Club in 1898, and later worked with Willie Watson
on the 2nd nine in 1906. Robert continued designing courses on his own,
though one would believe that he was in contact with his brothers on a
regular basis for their input. Robert also assumed the role of golf professional
and greenkeeper at many of his courses. Robert's designs include; Lake
Geneva CC (1897), Meadowbrook CC (1912), Jefferson City CC (1922), Bogey
Club (1910), Forest Park GC (1913), Log Cabin GC (1909), Triple A GC (1902),
Ruth Park GC (1930), Riverview GC (1916). In November 1900, Jim was contacted
by Colonel George McGrew, founder of Glen Echo CC, to come to St. Louis
and design the St. Louis area's first 18-hole course. Jim arrived in January
1901, with Robert alongside. Together they began to layout and construct
Glen Echo on over 350 acres of pristine land. The course opened on May
25, 1901. Jim returned to Chicago, while Robert stayed on as golf professional
and greenkeeper. He and Jim also designed the Normandie GC, which sits
adjacent to Glen Echo and at one time their borders touched. Robert left
Glen Echo in 1907 and moved to Normandie. Then in 1909 he began construction
of the original Bellerive CC, which opened in 1910. He moved there and
remained as their head pro and greenkeeper until 1942. 6. What was their
relationship with other architects of the day? Robert did construction
for other architects, as they respected his talent in this area. One of
these collaborations was with Tom Bendelow at Algonquin GC in St. Louis
(1903), as Bendelow did the original 9-hole routing and then left the
construction to Robert. Virtually every course built in St. Louis prior
to 1930 had Robert's hand on the final layout. As a superintendent he
was second to none and many clubs had him on an annual retainer to insure
that their course and greens survived the often difficult St. Louis summers.
Jim was the head professional at Olympia Fields during the construction
of their original four courses. He preceded Jack Daray Sr. as professional
there by a few years, and Daray, like other professionals of the day,
moonlighted as an architect and built many other Chicago area courses.
Though Jim played little or no role in the actual design of Olympia Fields
four courses, his presence and background must have certainly made Bendelow,
Watson, and Park give their work just a little extra to gain praise from
the respected Foulis. They also had a long-standing relationship with
Donald Ross. The Dornoch native spent two years at St. Andrews in 1891-92
and would have come across the Foulis' as he visited Old Tom Morris at
the Old Course. He also worked at the Forgan & Company shop, likely alongside
Jim Foulis. A year younger than Jim, and a year older than Robert, the
three of them must have learned much from Old Tom in those days. They
also competed together in the US Open in the early 1900's. Another local
Chicago architect they knew well was Herbert J. Tweedie. An original member
of Chicago GC, Tweedie worked closely with C.B. Macdonald. When Chicago
Golf moved from their original site in Belmont to build their new 18-hole
course at Wheaton, Tweedie and others stayed at Belmont and formed a new
club there. In 1898, Tweedie teamed with Robert, Jim and H.J. Whigham
(Macdonald's son-in-law) as they added nine holes to the original Lake
Forest Club, now renamed Onwentsia. Tweedie went on to build such outstanding
Chicago courses as Exmoor, Flossmoor, Glen View, LaGrange and Midlothian.
Interestingly, Tweedie was the manager for the A.G. Spalding business
in Chicago, the firm that also employed Tom Bendelow as their spokesman
and resident architect, but there is no evidence that Tweedie or Bendelow
ever collaborated on a design. As noted earlier, Robert worked with Willie
Watson at Minikahda in 1898 and again in 1906. But for the most part,
the Foulis' supported each others efforts. Robert's work was also well
respected by architects not generally thought of as being Midwest designers.
When Harry Colt published his 1933 book, 'Golf Courses: Design, Construction
and Upkeep' several of Robert's architectural features were included as
examples of good design features and he used Robert's illustrations in
his book.
http://www.golfclubatlas.com/interviewhealey.htm
A.W. Tillinghast (1874-1942), in 1909
Baltusrol, Wing Foot, Bethpage, flourished 1910-1930
http://en.wikipedia.org/wiki/A._W._Tillinghast
http://www.tillinghast.net/
Donald Ross (1872-1948)
http://www.donaldrosssociety.org/
Top designs
Pinehurst #2 Pinehurst, NC (1903-35)
Worcester Worcester, MA (1913)
Wannamoisett Rumford, RI (1914)
Plainfield Plainfield, NJ (1916)
Oakland Hills Birmingham, MI (1917)
Essex Manchester, MA (1917)
Interlachen Minneapolis, MN (1919)
Inverness Toledo, OH (1920)
Oak Hill Rochester, NY (1923)
Salem Salem, MA (1925)
Franklin Hills Franklin, MI (1926)
Holston Hills Knoxville, TN (1928)
Seminole North Palm Beach, FL (1929)
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