#: locale=en
## Action
### Text to Speech
TextToSpeechBehaviour_8FFFF079_AB61_9F92_41C2_E2A30F5413FC.text = 3D model of a mannequin in 1860s Woman’s Undergarments. Turn the model to see all sides of the six layers of undergarments. A courset, fastened in the front and tied in the back, is tucked into a hoop skirt and an overskirt on top. The layers of hoops can be seen from all angles under the overskirt. The chemise on top has short sleves.
TextToSpeechBehaviour_C88BEE12_D5A7_8396_41E4_54F5ABABDF1D.text = I am a 3D model of a wedding dress. More information is incoming. Use your keyboard to move around or I will orbit for you.
TextToSpeechBehaviour_27AA1254_60A5_F749_41CE_CB2874828EBC.text = Next Pano
TextToSpeechBehaviour_2320418D_60A5_B5DB_41A7_EB5E828743C5.text = Orient Leftwards
TextToSpeechBehaviour_2320E18D_60A5_B5DB_41CA_E12F805FC96C.text = Orient backwards
TextToSpeechBehaviour_2320B18D_60A5_B5DB_41D7_40E9018497A8.text = Orient frontwards
TextToSpeechBehaviour_2320C18D_60A5_B5DB_41D2_C85230702E13.text = Orient rightwards
TextToSpeechBehaviour_2321318E_60A5_B5D9_41A5_3EC1C67CD7BE.text = Previous Pano
TextToSpeechBehaviour_FB213B16_D33F_9490_41B9_250CE02221E3.text = Scott Joplin House State Historic Site \
2658 Delmar Blvd., St. Louis, MO 63103 \
Office Number: 314-340-5790
### URL
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LinkBehaviour_FBA9F809_D30E_9470_41CB_59E50D52F08F.source = https://icampmo.usedirect.com/MSPWeb/Customers/ShoppingCart.aspx
LinkBehaviour_F724FE22_D306_8CB0_41C1_FCF70BB910EC.source = https://icampmo.usedirect.com/MSPWeb/Customers/ShoppingCart.aspx
LinkBehaviour_F724FE19_D306_8C90_41EA_0074D41CD707.source = https://mostateparks.com/page/mo-virtual-heritage
LinkBehaviour_8FFF2079_AB61_9F92_41BC_E3913D7682D2.source = https://mostateparks.s3.us-east-2.amazonaws.com/Hunter%20Dawson/ar/index.html
LinkBehaviour_C88BEE13_D5A7_8396_41DE_40BA05775C1A.source = https://mostateparks.s3.us-east-2.amazonaws.com/Hunter%20Dawson/ar/index.html
LinkBehaviour_FB8BC738_D302_FC90_41C1_8CF48AD9B844.source = mailto:bothwell.lodge.state.historic.site@dnr.mo.gov
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LinkBehaviour_FB213B16_D33F_9490_41D8_2732A75B62DE.source = tel:5737485340
LinkBehaviour_FB8BC738_D302_FC90_41E6_43FAFCAFBFB7.source = tel:5737485340
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_277610E9_0B61_621F_4163_5ACB85ED4EEE.text = Granary
HotspotPanoramaOverlayTextImage_3AB42A92_0B61_260D_41A0_28C30DA0F114.text = Six-Hole Outhouse
## Media
### Audio
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### Audio Subtitles
### Floorplan
### Image
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### Popup Image
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CONTACT
Hunter Dawson State Historic Site
312 Dawson Rd, New Madrid, MO 63869
Office Number: 573-748-5340
hunter-dawson.state.historic.site@dnr.mo.gov
CONTACT
Hunter-Dawson State Historic Site
312 Dawson Rd, New Madrid, MO 63869
Office Number: 573-748-5340
hunter-dawson.state.historic.site@dnr.mo.gov
doorway into the south parlor. It is set with red upholstered furniture.
the formal parlor has red upholstered furniture, a couch with tufted seat is in the center of the room. Across the room is the open doorway to the north formal parlor.
A bed is ahead with a red blanket. A small end table with a bowl and pitcher on top.
A bed with posts has a blanket with a bed warmer on top of it. On the right is a vanity set with a bowl and pitcher.
A bedside table with a book on top of it. Tab for more information.
A children's bed with a quilt on it. There is a mannequin in the corner with a pink dress.
A children's bed with a trunk at the foot of it. There is a doll stroller. And ahead an open doorway into the upper hall.
A door is open to the entry hallway, the pocket doors to the family parlor on the right are partially open. Ahead against the wall is a large wooden piece of furniture.
A doorway into a bedroom. An end table has a lamp on it with a small chair beside it, above it to framed pictures.
A doorway leading into the upper hall
A dresser with a bowl and pitcher on it. In front of the window there is a close stool.
A fireplace is built to the wall with a black mantle. On the right, a large wardrobe has cabinet doors open when you roll over it. It is filled with period clothing.
A fireplace with a black mantle has a landscape picture hung above it. On the left, there is a window with burgundy floor length curtains. On the wall a side table With a pitcher and a bowl.
A fireplace with a black mantle. On the right a rocking chair.
A large bed with four posts and a canopy.
A large bed with four posts and a canopy.
A large ceiling to floor window overlooking the upper porch. On the left and mannequin with women's undergarments.
A large fireplace surround as seen in the family parlor is wooden and painted black. There are two candelabras on either side of the mantle, a portrait of a mother and baby are above.
A large square piano is open and has a red upholstered stool at it. There is a painting of flowers hung above it on the wall.
A large wooden piece of furniture, a marble top is with crystal vases.
A mannequin is wearing a mourning dress. A slip head window is on either side of the canopy bed. At the foot of the bed a cradle.
A narrow hallway, connecting the two bedrooms.
A narrow small hallway, leading to the door out to the upper porch.
A simple bed is along the wall with a window. On the right is a wood-burning stove.
A simple bed with a blue blanket up against the wall. On the left window with a simple floral patterned curtain.
A simple chair, a window with a thin, red curtain
A small arrow hallway, connecting to another bedroom.
A small table and chair with a framed image with writing on it. To the right is a simple bed with a red blanket.
A small table is set into a recessed in the wall with two lamps and several colored glasses. Above it, there is a painting on the wall.
A small table set with two chairs. A children's bed behind it. On the left, there is a fireplace in between two windows. An antique rocking horse toy in between the two beds.
A small table to the left has a dark marble top with various items, including a cigar holder. In between two windows is a long mirror
A square piano with the top open, there is a single candle stick on top of it. Above a picture of flowers and a vase hanging on the wall.
A tall mirror with a small marble bench is in between two windows with floor length burgundy curtains.
A wardrobe is in the corner of the room. There is light pink wallpaper with an ornate, repeating pattern.
Across on the wall a square piano is open. To the right and open doorway leads to the back of the entry hallway.
Across the north, formal parlor the square piano is on the far wall, the center of the room has a small marble table.
Across the room is a small table with two chairs. On the left is a tall mirror with a golden frame, there is a small ledge on the mirror, a foot off of the ground.
Ahead is the doorway into the north formal parlor
Ahead, a mirror is set between two windows, on the left is an open doorway.
Ahead, there is a marble top table with various items, including a cigar holder that is carved. On the left is the fireplace and above it, a portrait of a woman and a baby.
An open doorway with two steps up onto the upper porch. There are several open doors on the left.
An open writing desk is set with open books. The glass doors on the top with books in it. In the corner there is a wooden trunk.
And narrow hallway, leading to the children's room
Around the dining table to the left is a window and a large black fireplace matching the one from the family parlor, with a landscape painitng above it.
At the foot of the children's bed, there is a table set with a play tea set. There is a fireplace on the far wall with a black mantle.
Doorway into the back of hunter dawson home.
Doorway into the upper hall.
In between two windows is a tall mirror with a small marble bench.
In the center of the room is a large canopy bed. There's a trunk at the foot of the bed, on the left there is a large wooden wardrobe.
In the center of the room is a marble top table. Across from it is the fireplace, there is a black mantle with two candelabras on top of it. Above it a man's portrait is hanging on the wall.
In the center there is a large canopy bed. The side table has a book on it
Large wardrobe with open cabinet doors sits to the left of a window beside the bed. Tab for more information.
On the left a window with floor length red curtains has two tufted chairs sitting in front of it. Ahead are the pocket doors leading to the other parlor.
On the left is a bed. Ahead a burgandy rug is on the floor and no furniture is on it. Click to move to the center of the room.
On the left the doorway to the porch. Ahead, two wardrobes, and a mannequin dressed in men's attire between them.
On the left the fireplace with a black mantle, and the man's portrait hung on the wall above. A marble table is in the center of the room.
On the left, a fireplace is built into the wall with a black mantle. Click to move to the center of the room.
Open doorway to the upper landing staircase.
Small, narrow hallway, connecting the two bedrooms
The back side of the hunter dawson home, the porch is ahead and has four steps up to the covered lower porch.
The center of the room has a large oval shaped wooden dining table set formally for 10 people. there is a pink table runner in the center with candles and plates that have blue designs. across the room there is a large sideboard.
The center of the room is set with furniture, there are two chairs with a flower pattern on the left, a coffee table center and on the right a bench seat with red uphulstry. the carpet has an ornate pattern.
The center of the room is set with red upholstered furniture, two chairs, and a couch. There is red carpet throughout with an ornate pattern. Across the room is the doorway to the entry.
The corner of the staircase landing. The wallpaper is yellow with a blue repeating pattern. On the left wall a small flower framed print. On the right wall is a lamp.
The covered porch ahead and along the left side is the hunter dawson home. to the right there are a few steps down into the yard.
The dining room table is to the left and ahead are the open pocket doors to the family parlor. There is a small side table against the wall near to the window on the right.
The door leading out to the front porch of hunter dawson
The doorway back out to the covered porch
The doorway into a bedroom. On the right, there are two frame pictures on the wall. Below that a trunk is on the floor.
The doorway leading back into the upper hall. On the right, there is a vanity set with various items.
The doorway on the left leads to the children's bedroom. Head the staircase to the landing.
The doorway to the back porch. the door is closed.
The entry has a blue and white patterned floor, there are open doorways to the right and left. ahead is the staircase on the right side of the entry. to the left two portraits are hung on the wall.
The family dining room has a wooden high chair along this wall, and two portraits on this wall with frames that have convex glass.
The fireplace has a black mantle above it a small framed image of plants. On the right hand side, there is a small side table with a bowl and pitcher.
The fireplace mantle is wood painted black and has two candelabra on it. Above it, there's a portrait of a man.
The front of a two story white historic home with green shutters. There is a porch leading to the front door with 3 steps up. There are two rocking chairs on the right side as you get on the porch. The second story has a white balcony.
The grassy lawn and a wooden fence that lines the yard.
The grassy lawn, a white shed is ahead.
The grassy lawn, the hunter dawson home is to the right.
The hunter dawson two story home is ahead, white with green shutters. the side is lined with columns and has three steps up to the doorway. The L-shaped home has a recessed porch from this side and steps on the right side lead to the covered lower level.
The lawn on the side of the Hunter Dawson home. A lanscaping area has a wooden bench and is lined with a row of bricks.
The left corner of the entry, the yellow wallpaper has a blue pattern repeating. there is an end table with a small framed image above.
The north and south parlor are separated by pocket doors, the recessed door can be seen here partially out of the wall. On either side are upholstered chairs in front of windows. Both rooms have matching fireplaces.
The open door way back to the covered porch.
The open pocket doors leading to the south parlor.
The panel wooden walls of the bathroom. A small crate, with a piece of soap on it, on the wall there is a white towel hanging on a hook.
The railing of the front balcony overlooking the lawn.
The railing of the front balcony overlooking the lawn.
The right side of the entry, an ornate entry table is to the right of a doorway. It has several hats hung on it and a lamp, an umbrella and a cane.
The small rocking horse toy is in between the two beds. The doorway connecting the two bedrooms is ahead.
The south formal parlor has red upholstered furniture, the back of the couch can be seen. To the left is the fireplace
The south formal parlor has two paintings hanging from a picture rail on the ceiling by golden chords. Across the room the doorway to the entry.
The staircase leading down to the entry,
The staircase leading up to the second floor.
The upper porch is covered, on the left is an open doorway. ahead is an open door leading to the wash room. The right overlooks the lawn.
The upper porch overlooks the lawn. The side of Hunter Dawson can be seen with two windows on the second story with green shutters.
The view into the north parlor via an open doorway. On the left a piano, in the center in marble table.
The wall has a small framed picture of women formally dressed in large gowns.
The wallpaper is red with small, repeating white pattern. Several small framed pictures of women in formal dresses are hung on the wall. There are several small tables, including a sewing machine.
There is a large wardrobe on the wall, set with various items, near it. There is a closed stool. The wallpaper in this room is white with small flowers and pink buds.
There is an end table with an ornate chair on either side, above each chair a portrait of a man on the left and a woman on the right. to the right there is a doorway.
There is wooden panels walls on all four sides of the bathroom. A small, sitting tub, and a washing table.
To open doors, the door on the left leading to a bedroom, the door on the right, leading to a larger bedroom with two beds.
Two chairs in front of a window, and to the left of the window a fireplace with a portrait of a man above it.
Two children's beds with a dresser in between.
Two open doorways the one on the left leading to a bedroom, the one on the right leading to the center sewing room. A large ceiling to floor window can be seen.
Two portraits on this wall with frames that have convex glass. The left is a man and the right is a woman. the wall paper is white with a blue floral pattern.
Two wardrobes with mirrors on top. In between a mannequin, dressed, and men's attire with a teal vest.
Windows with green shutters
Windows with green shutters
Wood burning stove is in the center of the room, a four post bed is on the far side. There's a chamber pot underneath it.
a closed inaccessible door
a closed inaccessible door on the left, to the right is the hallway to the entry.
a doorway into the formal parlor with red carpet. There is an entry table to the right of the doorway with hats hung on it, an umbrella and a lamp.
a fireplace is framed with a black mantle and surround. above the mantle is a landscape painting.
a grassy lawn with a tree. To the left is a white historic home, and front porch.
a large dining table is right in the front center. Across the room a large wooden piece of furniture is against the wall to the left of the pocket doors.
a large oak pie safe is ahead, to the right a closed door.
a large wooden hutch with glass doors is along the wall, to the left a window. there is a green arm chair with a floral design on the back.
a lawn wtih trees in the distance a wooden fence runs the length of the yard
a recessed window with floor length turquoise curtains and a wooden valance. there is a folded small table against the wall. to the right are the pocket doors to enter the dining room.
a red bench in the center of the room, on the right the fireplace with a large gold mirror above the mantle.
a rocking chair is in the corner of the room, the wall paper begins halfway up the wall above a wooden wainscoting. The wall paper is white with blue flowers. A closed door leading to the porch is on the opposite wall.
a small table against the wall with two tuffed red chairs. the table is set with a card game. a window is ahead
a small table is to the left of a window with one chair. the table has a cast iron pot, lamp and two wooden butter molds on it and has two crates under it. the open door to the family dining room is to the right
a table is under a window with a wooden manoline slicer, two white porcelin jugs are under the table. to the right in the corner is the chopping block
a window along the wall and in the corner a small table with two chairs. a music box is on the table and three framed maps of Missouri are on the wall.
a window with floor length red curtains. The carpet is red with an ornate pattern.
a window with purple curtains and a closed door
a window with short red plaid curtains. to the right is a simple wooden buffet
across the dining room table two recessesd windows with purple floor length curtains frame either side of the fireplace.
across the diningroom a wooden piece of furniture is against the wall. The dining table is to the right.
across the kitchen is a small table beside a window, a closed door, and to the left is the pie safe.
against the wall is a large wooden piece of furniture with a mirror on the top.
ahead, the dry sink is a short cabinet with a bowl on the counter and a pitcher.
an open doorway into the north formal parlor. the red carpet is seen and a pier mirror along the wall between two windows.
an ornate piece of furniture with carved shelves sit on a marble top with cabinets below.
dining room doorway with two pocket doors. the table is set with place settings in the center of the room.
in the center of the room there is a marble top table with ornately carved legs.
in the center of the room there is a small table with four chairs.
on the right there is a chest with the top open for storing potatoes, several metal buckets are in the corner with washboards in them. on the left is the iron stove.
the center of the room is set with two chairs, a coffee table and a bench. the far wall has a large fireplace with a black mantle surrounding it. there is a gold mirror on top of the mantle. the carpet is an ornate pattern.
the covered porch and on the right is the hunter dawson home with two windows that have green shutters. Past the windows there is a door, and straight ahead another door.
the dining room is simple with a wooden plank floor and a small table in the center of the room set with four chairs and two candle sticks
the dining room sideboard is aginst the wall on the right.
the dining room table is to the right, ahead is the doorway to the kitchen. Across the table is a large piece of furniture the sideboard.
the dining table in the center of the room set with 10 chairs
the dining table is in the center of the room, set with four chairs and two candle sticks on a yellow runner. the room has simple thin plaid red curtains on the windows, a rocking chair is across to the right.
the dining table is on the left, the fireplace against the wall has a landscape painting hung above
the doorway into the entry and the family parlor is set with a red bench in the center. Along the far wall are two arm chairs and a side table.
the doorway into the entry. on the right there is a framed picture in black and white of a woman and child.
the doorway into the family parlor. to the right of the doorway is a set of chairs and an end table, there are two portraits hung on the wall
the doorway into the kitchen. click to move forward
the doorway to the entry can be seen across the room, on the left pocket doors leading into the dining room. the far corner has a writting desk and chair.
the doorway to the entry, the staircase is seen across the hall.
the doorway to the entry, the wallpaper in the parlor is white with a thin lined blue repeating pattern.
the doorway to the family dining room is on the left, on the right there is a large iron stove.
the doorway to the north formal parlor. the carpet is red with an ornate pattern. on the wall a portrait of a man is hanging from the picture rail by a long golden cord.
the end of the porch to the right there are steps into the yard. ahead is a closed door.
the entry has a staircase to the right side and on the left a side table with two chairs on either side. Above the chairs a set of portraits is hanging on the wall.
the entry wall has a black and white portrait of a man, to the right there is a doorway. the floor has a blue criss cross stripe running across it with lighter blue diamonds where they meet.
the family dining room has a large wooden piece of simple furniture against the wall next to the fireplace. a clock is on the mantle.
the fireplace is against this wall and seen from the side. there is an open door, the doorway is to the right.
the front door is along the farther wall. two open doorways to the right and left enter parlors.
the front door of hunter dawson house, there is an entry table on the left and right. The wallpaper is yellow with blue repeating pattern.
the kitchen has a mannequin dressed in a floral dress and apron. the dry sink is against the right wall and the chopping block is in the corner.
the lawn with trees, and the landscaped area lined with bricks is to the left.
the lawn wtih trees along the side of the hunter dawson home. The home is to the right.
the north wall of the dining room has two framed images of flowers, the wall paper is a white and cream floral pattern.
the pocket doors are open to the family parlor and the ornate carpet is cream with colored patterns in blue and red. there is a collection of furniture in the center of the room.
the pocket doors are opened into the dining room where there is green carpet. on the right of the pocket doors is a small writting desk, and chair.
the short hallway that leads to the formal dining room, the floor is black and white checkers.
the short hallway to the kitchen, the floor is black and white checkers.
Click to move forward.
the side of the hunter dawson home has windows lined with green shutters. There are a few steps down into the yard.
the side of the porch is a window with green shutters and two doors
the south formal parlor has red upholstered furniture, one couch and two chairs. across there is a long mirror sitting in between two windows. and on the far wall a fireplace has a portrait of a woman and baby above it.
the staircase runs along the right side of the entry, and to the left a hallway leads back.
the wall of the entry has yellow wall paper with a blue repeating pattern. on this wall there is a black and white portrait of a woman, a smaller ornate round frame with another portrait of a woman in a blue dress, and a lamp.
two windows on the north wall are on either side of a wooden hutch with glass doors. on the left there are two arm chairs and an end table.
view of lawn from covered porch lined with white columns, and a white wooden railing lines the edge of the porch
view of lawn from covered porch, there are several steps down to the grassy area. a white shed in the distance.
Hunter Dawson State Historic Site
• Square Feet: Approx. 6,000
• Number of Rooms: 15
• Privy (Outhouse): 6-hole
• Number of Fireplaces: 9
• Number of Stories: 2 (plus a root cellar)
• Year Built: 1860
• Original Cost: $10,000
• Original Power Source: Wood, candles, oil lamps
• Materials: Yellow Cypress with a brick foundation
Hunter-Dawson State Historic Site
• Square Feet: Approx. 6,000
• Number of Rooms: 15
• Privy (Outhouse): 6-hole
• Number of Fireplaces: 9
• Number of Stories: 2 (plus a root cellar)
• Year Built: 1860
• Original Cost: $10,000
• Original Power Source: Wood, candles, oil lamps
• Materials: Yellow Cypress with a brick foundation
Wardrobe, ca. 1860
In the 19th century, clothing was most often stored in wardrobes, also called an armoire or chifforobe, depending on the time and place. While closets existed in this time period, they were often for general storage and found more frequently in dining rooms or parlors. This large wardrobe contains hooks, shelves and two drawers for optimum organization.
Wardrobe, ca. 1860
In the 19th century, clothing was most often stored in wardrobes, also called an armoire or chifforobe, depending on the time and place. While closets existed in this time period, they were often for general storage and found more frequently in dining rooms or parlors. This large wardrobe contains hooks, shelves and two drawers for optimum organization.
Robert Goah Watson and Jane Watson, ca. 1845, Oil on Canvas
Robert Goah and Jane Watson were the parents of Amanda Hunter. Robert Goah, a fur trader, merchant and New Madrid circuit judge, was also one of the founding fathers of New Madrid and affectionately known as the “Father of the County.” He and Jane had eight children together with Amanda being their 5th child. He also had a son from a previous marriage. Paintings on loan from the Marjorie Lewis family.
Robert Goah Watson and Jane Watson, ca. 1845, Oil on Canvas
Robert Goah and Jane Watson were the parents of Amanda Hunter. Robert Goah, a fur trader, merchant and New Madrid circuit judge, was also one of the founding fathers of New Madrid and affectionately known as the “Father of the County.” He and Jane had eight children together with Amanda being their 5th child. He also had a son from a previous marriage. Paintings on loan from the Marjorie Lewis family.
Ceiling Medallion
Each ceiling medallion consists of 4 separate, molded-plaster pieces attached to the ceiling. In 1967 when State Parks acquired the property, the original ceiling medallions had deteriorated and were no longer in their proper places. So a mold was made of an original section to create the reproductions in place today.
Ceiling Medallion
Each ceiling medallion consists of 4 separate, molded-plaster pieces attached to the ceiling. In 1967 when State Parks acquired the property, the original ceiling medallions had deteriorated and were no longer in their proper places. So a mold was made of an original section to create the reproductions in place today.
Landscape, Oil on Canvas
This painting is unsigned, but family legend says that it was painted by Amanda Hunter’s sister, Sidney Watson LaValle. It appears to depict a Scottish scene, appropriate since Sidney’s and Amanda’s father, Robert Goah Watson, was born in Scotland.
William Hunter, ca. 1845, Oil on Canvas
This unsigned portrait of William in his late 30s with the river and riverboat in the background gives a good glimpse into his life. As a merchant and owner of a mercantile store called The Crystal Palace, the Mississippi River played an important role in his business enterprises, allowing for the convenient shipment of goods. In this time period, the Mississippi River, like the Missouri River, served as a vital source of transportation and helped river communities like New Madrid thrive; the advent of steamboat technology further contributed to the state and national economic expansion. Engraving from Harper’s Weekly, March 10, 1883.
William and Ella Dawson, ca. 1900-1910, Pastel on Paper
Ella Hunter-Dawson, the youngest daughter of William and Amanda Hunter, and her husband William Dawson were the second generation to live in the Hunter-Dawson home. The couple married Dec. 24, 1874 and had 5 children. William, a lawyer and politician, also served in the Missouri House of Representatives and the U.S. House of Representatives. Called crayon portraits, these are photographs that have been enlarged and embellished with pastels, common of the mid-19th and early-20th centuries.
Sideboard, Wood and Marble
In 1860, Amanda purchased $1696.50 worth of furniture from Mitchell & Rammelsberg Furniture Company based in Cincinnati, Ohio. This Rococo Revival walnut sideboard with rosewood veneer was part of that furniture purchase and cost $90. It is believed that Hunter-Dawson State Historic Site has the largest collection of Mitchell & Rammelsberg furniture in situ, or still in the house, it was purchased for.
Site History
Hunter-Dawson State Historic Site illustrates the grand lifestyle once enjoyed by one of southeast Missouri’s wealthy families during the mid to late-1800s. William and Amanda Hunter ran successful family enterprises in the thriving Mississippi River town of New Madrid, including a dry goods store and a floating, riverboat store used to sell goods to other towns. New Madrid was both Amanda’s hometown and an important river port, ideally situated for their business. In 1859 as the couple planned their home, a combination of Greek Revival, Italianate, Georgian and French Colonial architecture, William aged 52 succumbed to yellow fever. Upon completion in 1860, Amanda and her seven surviving children moved into the house. In 1876, when Amanda died, the Hunter’s youngest daughter, Ella, and her husband, William Dawson, a Missouri and United States legislator, moved into the house. Descendants of the Hunter family continuously occupied the home until 1958. Adding to the significance of the site, it is estimated that the house contains approximately 80% of Amanda’s original furnishings and much of the family’s personal and business documentation. Several items of the Dawson's furniture and a large part of their library are also preserved in the home. It is believed that the site possesses one of the largest Mitchell & Rammelsberg furniture collections in the nation. Image courtesy of the N.Y. Public Library, ca. 1854.
1860 Slave Census
According to the 1860 slave census, Amanda Hunter owned 36 enslaved people; 17 females and 19 males ranging in age from eight months to 108 years, who lived in five cabins on the property. Phillis is the only person with her name listed, as census takers only recorded the names of slaves over the age of 100. Appearing in the 1870 census as a free woman, Phillis continued to live with the Hunters after abolition, but passed away between 1870 and 1880. Amanda’s enslaved people performed valuable work and held many different titles: field hand, cook, nanny, butler, and they even helped build the house. It is important to acknowledge that the enslaved people, who the Hunters owned, significantly contributed to the family’s wealthy lifestyle.
1860 Slave Census
According to the 1860 slave census, Amanda Hunter owned 36 enslaved people; 17 females and 19 males ranging in age from eight months to 108 years, who lived in five cabins on the property. Phillis is the only person with her name listed, as census takers only recorded the names of slaves over the age of 100. Appearing in the 1870 census as a free woman, Phillis continued to live with the Hunters after abolition, but passed away between 1870 and 1880. Amanda’s enslaved people performed valuable work and held many different titles: field hand, cook, nanny, butler, and they even helped build the house. It is important to acknowledge that the enslaved people, who the Hunters owned, significantly contributed to the family’s wealthy lifestyle.
1860s Woman’s Undergarments
Under a nice day dress or ball gown, a lady would have worn six layers of undergarments. The first layer was calf-length drawers, split to the waist for ease of using the facilities, followed by a chemise (a cotton garment similar to a nightgown), a corset, an underskirt (or modesty skirt), a hoop skirt and then an overskirt. These undergarments would have been made of cotton or wool, depending on the season, and after all those layers were on, a lady could then put on her dress.
Click on the mannequin to see the garment layers.
1860s Woman’s Undergarments
Under a nice day dress or ball gown, a lady would have worn six layers of undergarments. The first layer was calf-length drawers, split to the waist for ease of using the facilities, followed by a chemise (a cotton garment similar to a nightgown), a corset, an underskirt (or modesty skirt), a hoop skirt and then an overskirt. These undergarments would have been made of cotton or wool, depending on the season, and after all those layers were on, a lady could then put on her dress.
Click on the mannequin to see the garment layers.
1860s Woman’s Undergarments
Under a nice day dress or ball gown, a lady would have worn six layers of undergarments. The first layer was calf-length drawers, split to the waist for ease of using the facilities, followed by a chemise (a cotton garment similar to a nightgown), a corset, an underskirt (or modesty skirt), a hoop skirt and then an overskirt. These undergarments would have been made of cotton or wool, depending on the season, and after all those layers were on, a lady could then put on her dress.
Click on the mannequin to see the garment layers.
Amanda and Richard Hunter, ca. 1845, Oil on Canvas
This unsigned portrait is of Amanda in her late 20s and her 3rd son, Richard. You can tell that Richard is a boy because his hair is parted on the side. A girl would have had her hair parted in the middle like Amanda’s. Clothing for babies and young children was typically white, making it easy to wash and bleach. Boys and girls were dressed the same, in gowns or frocks, until the age of three or so, when boys were breeched and started wearing trousers. Coral necklaces, like the one Richard is wearing, were common gifts for children in the 19th century and thought to offer protection against illness.
Amanda and Richard Hunter, ca. 1845, Oil on Canvas
This unsigned portrait is of Amanda in her late 20s and her 3rd son, Richard. You can tell that Richard is a boy because his hair is parted on the side. A girl would have had her hair parted in the middle like Amanda’s. Clothing for babies and young children was typically white, making it easy to wash and bleach. Boys and girls were dressed the same, in gowns or frocks, until the age of three or so, when boys were breeched and started wearing trousers. Coral necklaces, like the one Richard is wearing, were common gifts for children in the 19th century and thought to offer protection against illness.
Landscape, Oil on Canvas
This painting is unsigned, but family legend says that it was painted by Amanda Hunter’s sister, Sidney Watson LaValle. It appears to depict a Scottish scene, appropriate since Sidney’s and Amanda’s father, Robert Goah Watson, was born in Scotland.
William Hunter, ca. 1845, Oil on Canvas
This unsigned portrait of William in his late 30s with the river and riverboat in the background gives a good glimpse into his life. As a merchant and owner of a mercantile store called The Crystal Palace, the Mississippi River played an important role in his business enterprises, allowing for the convenient shipment of goods. In this time period, the Mississippi River, like the Missouri River, served as a vital source of transportation and helped river communities like New Madrid thrive; the advent of steamboat technology further contributed to the state and national economic expansion. Engraving from Harper’s Weekly, March 10, 1883.
William and Ella Dawson, ca. 1900-1910, Pastel on Paper
Ella Hunter-Dawson, the youngest daughter of William and Amanda Hunter, and her husband William Dawson were the second generation to live in the Hunter-Dawson home. The couple married Dec. 24, 1874 and had 5 children. William, a lawyer and politician, also served in the Missouri House of Representatives and the U.S. House of Representatives. Called crayon portraits, these are photographs that have been enlarged and embellished with pastels, common of the mid-19th and early-20th centuries.
Amanda’s Sewing Machine, ca. 1858
This sewing machine is a late 1850s Grover and Baker, and was the first portable sewing machine that could be fully enclosed in the sewing case. The sewer operated the machine via a hand crank, but an optional foot treadle could be attached, making it easier to operate. Inside the drawer Amanda wrote “Hurrah for Jeff Davis” and “Hurrah for Stonewall” showing her Confederate sympathies.
Amanda’s Sewing Machine, ca. 1858
This sewing machine is a late 1850s Grover and Baker, and was the first portable sewing machine that could be fully enclosed in the sewing case. The sewer operated the machine via a hand crank, but an optional foot treadle could be attached, making it easier to operate. Inside the drawer Amanda wrote “Hurrah for Jeff Davis” and “Hurrah for Stonewall” showing her Confederate sympathies.
Autograph Book, ca. 1850s, Paper and Mother of Pearl
These autograph books belonged to Amelia Hunter-Biship and served as a place for her friends to write a saying, poem or short note, along with their autograph. Both of Amanda and William Hunter’s daughters, Amelia and Ella, attended finishing school and college. Finishing schools taught wealthy young ladies proper etiquette and how to be good mothers and wives, which was the expectation for all Victorian ladies, wealthy or not.
Autograph Book, ca. 1850s, Paper and Mother of Pearl
These autograph books belonged to Amelia Hunter-Biship and served as a place for her friends to write a saying, poem or short note, along with their autograph. Both of Amanda and William Hunter’s daughters, Amelia and Ella, attended finishing school and college. Finishing schools taught wealthy young ladies proper etiquette and how to be good mothers and wives, which was the expectation for all Victorian ladies, wealthy or not.
Bed Springs, Metal and Wood
In 1860, Amanda Hunter purchased a set of springs for the guest bed, costing $9. The individual spiral springs sat on wooden slats that run the length of the bed and were topped with a feather mattress. The spring sets attempted to enhance comfort and could fit any bed in the house.
Bed Springs, Metal and Wood
In 1860, Amanda Hunter purchased a set of springs for the guest bed, costing $9. The individual spiral springs sat on wooden slats that run the length of the bed and were topped with a feather mattress. The spring sets attempted to enhance comfort and could fit any bed in the house.
Bed Warmer
In this time period, bed warmers would have been a common sight during the wintertime. In order to warm the bed, hot coals would have been placed inside the pan of the warmer, then placed under the blankets and continuously moved around until the bed was sufficiently warmed. Bed warmers were not intended to be left under the bed or blankets, due to being a potential fire hazard.
Bed Warmer
In this time period, bed warmers would have been a common sight during the wintertime. In order to warm the bed, hot coals would have been placed inside the pan of the warmer, then placed under the blankets and continuously moved around until the bed was sufficiently warmed. Bed warmers were not intended to be left under the bed or blankets, due to being a potential fire hazard.
Carpet, Wool
A reproduction of an 1854 pattern, this English-made Wilton carpet was woven in 27” strips on looms that have been in use since the 19th century. Once completed, the strips were sent to a carpet layer who hand-sewed the pieces together and installed the carpet. Wilton carpet is a cut pile carpet and would have been the most expensive carpet available at that time. Because it was so expensive, it typically would have been seen in the wealthiest of homes, and even then only in public rooms. In bedrooms it was common to have a less expensive floor covering such as ingrain carpet.
Carpet, Wool
A reproduction of an 1854 pattern, this English-made Wilton carpet was woven in 27” strips on looms that have been in use since the 19th century. Once completed, the strips were sent to a carpet layer who hand-sewed the pieces together and installed the carpet. Wilton carpet is a cut pile carpet and would have been the most expensive carpet available at that time. Because it was so expensive, it typically would have been seen in the wealthiest of homes, and even then only in public rooms. In bedrooms it was common to have a less expensive floor covering such as ingrain carpet.
Chopping Block
Before built-in cupboards and counters became common in kitchens, chopping blocks were used. This chopping block, made from a tree stump with legs attached, would have been used daily to prepare meals and butcher farm animals. According to the 1850 agricultural census, of the 940 acres William owned, 415 acres had been improved for farming and produced mostly Indian corn (field corn), oats and potatoes. The Hunters also had an orchard and livestock that mostly consisted of swine, but also sheep, cattle, oxen, milk cows, mules and horses.
Chopping Block
Before built-in cupboards and counters became common in kitchens, chopping blocks were used. This chopping block, made from a tree stump with legs attached, would have been used daily to prepare meals and butcher farm animals. According to the 1850 agricultural census, of the 940 acres William owned, 415 acres had been improved for farming and produced mostly Indian corn (field corn), oats and potatoes. The Hunters also had an orchard and livestock that mostly consisted of swine, but also sheep, cattle, oxen, milk cows, mules and horses.
Cigar Holder, ca. 1875-1900, Clay
This cigar holder, which belonged to Amanda’s son John Clay Hunter, has a place to hold cigars as well as matches. In the 19th century, tobacco use in the form of cigars, pipes or chew was fairly common among men. However, the practice was considered unfeminine, so if women smoked, it was generally done in private.
Cigar Holder, ca. 1875-1900, Clay
This cigar holder, which belonged to Amanda’s son John Clay Hunter, has a place to hold cigars as well as matches. In the 19th century, tobacco use in the form of cigars, pipes or chew was fairly common among men. However, the practice was considered unfeminine, so if women smoked, it was generally done in private.
Closed Stool and Medicated Paper, 1857
Before indoor plumbing when toilets were located outside of the house, closed stools (potty chairs) or chamber pots were a necessity. Inside the closed stool is a chamber pot that can easily be taken out and cleaned. Patented in 1857, the medicated paper, or toilet paper, was a new commodity of the era. Similar to modern-day facial tissues, the paper was medicated with aloe and came in sheets rather than rolls.
Closed Stool and Medicated Paper, 1857
Before indoor plumbing when toilets were located outside of the house, closed stools (potty chairs) or chamber pots were a necessity. Inside the closed stool is a chamber pot that can easily be taken out and cleaned. Patented in 1857, the medicated paper, or toilet paper, was a new commodity of the era. Similar to modern-day facial tissues, the paper was medicated with aloe and came in sheets rather than rolls.
Dry Sink
Before indoor plumbing, the dry sink was a common piece of furniture in an 1860s kitchen. Like many households, the Hunters had a cistern outside the house, which collected and stored rainwater. In order to do the dishes, buckets of water would have been filled at the cistern, carried into the house, heated on the stove then poured into the wash basin that would later have to be emptied. The sink was lined with copper to prevent water damage and had underneath storage to keep the space tidy. A washtub for bathing was also commonly found in kitchens, especially during the winter to conveniently fill with hot water.
Dry Sink
Before indoor plumbing, the dry sink was a common piece of furniture in an 1860s kitchen. Like many households, the Hunters had a cistern outside the house, which collected and stored rainwater. In order to do the dishes, buckets of water would have been filled at the cistern, carried into the house, heated on the stove then poured into the wash basin that would later have to be emptied. The sink was lined with copper to prevent water damage and had underneath storage to keep the space tidy. A washtub for bathing was also commonly found in kitchens, especially during the winter to conveniently fill with hot water.
Floorcloth
A floorcloth, or oil cloth, is a floor covering made of heavy canvas that has been painted and varnished. Commonly used by wealthy households in highly trafficked areas, geometric patterns gained popularity in the mid-19th century. While this floorcloth is a reproduction, receipts show Amanda Hunter purchased floorcloths for the home in 1860.
Floorcloth
A floorcloth, or oil cloth, is a floor covering made of heavy canvas that has been painted and varnished. Commonly used by wealthy households in highly trafficked areas, geometric patterns gained popularity in the mid-19th century. While this floorcloth is a reproduction, receipts show Amanda Hunter purchased floorcloths for the home in 1860.
Half-Canopy Bed
Amanda Hunter purchased this half-canopy bed as part of her Mitchell & Rammelsberg furniture collection in 1860. Constructed of walnut in the Rococo Revival style, the bed was part of a three-piece set that also included a washstand and dresser, all together costing $200. During the summer, mosquito netting would have been hung from the bed and draped across a removable rail placed at the foot of the bed. Since window screens did not come into common use until after the Civil War, netting on the beds was a necessity to help protect against from mosquito bites and, as we know today, mosquito-borne illness. It was not known that mosquitos transmitted malaria and yellow fever until the late 1800s, and these diseases, often fatal, instilled fear in communities across the United States, especially in port and southern cities. In 1859, shortly before the house was constructed, William Hunter succumbed to yellow fever.
Half-Canopy Bed
Amanda Hunter purchased this half-canopy bed as part of her Mitchell & Rammelsberg furniture collection in 1860. Constructed of walnut in the Rococo Revival style, the bed was part of a three-piece set that also included a washstand and dresser, all together costing $200. During the summer, mosquito netting would have been hung from the bed and draped across a removable rail placed at the foot of the bed. Since window screens did not come into common use until after the Civil War, netting on the beds was a necessity to help protect against from mosquito bites and, as we know today, mosquito-borne illness. It was not known that mosquitos transmitted malaria and yellow fever until the late 1800s, and these diseases, often fatal, instilled fear in communities across the United States, especially in port and southern cities. In 1859, shortly before the house was constructed, William Hunter succumbed to yellow fever.
Iron Cook Stove
A wood-burning, cast iron stove was an 1860s kitchen necessity that allowed for cooking on the stove top and keeping food heated in the warming oven above. Most likely, the Hunters also had a detached, summer kitchen for cooking during the warmer months that would have kept the heat and smells out of the main house. It’s important to note that more than likely the Hunter family did not spend much time in the kitchen, instead their enslaved peoples would have prepared the family’s meals.
Iron Cook Stove
A wood-burning, cast iron stove was an 1860s kitchen necessity that allowed for cooking on the stove top and keeping food heated in the warming oven above. Most likely, the Hunters also had a detached, summer kitchen for cooking during the warmer months that would have kept the heat and smells out of the main house. It’s important to note that more than likely the Hunter family did not spend much time in the kitchen, instead their enslaved peoples would have prepared the family’s meals.
Mourning Dress, Silk
This mourning dress is a reproduction of what a Victorian woman would have worn to mourn the death of a family member. While men also wore symbols of mourning, like an arm band, the ritual of mourning was largely a woman’s role and one that the Victorian’s took very seriously. Women mourned their husband for two years, wearing all black half of that time, later adding collars and cuffs in white; parents and children were mourned for one year and siblings for six months. The mourning dress not only showed respect for the person who had passed away, but was also an outward sign that the wearer had suffered a great loss. The mourning necklace is a family piece made of gutta percha, derived from the sap of certain trees in Malaysia that begins black then fades to brown with sun exposure. In 1860 when Amanda moved into the house, she was mourning the loss of her husband Willian and would have worn a similar dress.
Mourning Dress, Silk
This mourning dress is a reproduction of what a Victorian woman would have worn to mourn the death of a family member. While men also wore symbols of mourning, like an arm band, the ritual of mourning was largely a woman’s role and one that the Victorian’s took very seriously. Women mourned their husband for two years, wearing all black half of that time, later adding collars and cuffs in white; parents and children were mourned for one year and siblings for six months. The mourning dress not only showed respect for the person who had passed away, but was also an outward sign that the wearer had suffered a great loss. The mourning necklace is a family piece made of gutta percha, derived from the sap of certain trees in Malaysia that begins black then fades to brown with sun exposure. In 1860 when Amanda moved into the house, she was mourning the loss of her husband Willian and would have worn a similar dress.
Nail Buffer, ca. 1860, Silver and Cloth
Before modern nail polish was used, if a Victorian lady wanted her fingernails to look healthy and shiny, she would use a nail buffer. This one is made of sterling silver with a soft cloth to polish nails.
Nail Buffer, ca. 1860, Silver and Cloth
Before modern nail polish was used, if a Victorian lady wanted her fingernails to look healthy and shiny, she would use a nail buffer. This one is made of sterling silver with a soft cloth to polish nails.
Pie Safe
Original to the house, this pie safe was a 19th century necessity that allowed food to cool, while keeping the insects off. Since refrigeration wasn’t an option for the Hunter family, they would have canned or preserved most perishable foods and used their root cellar located under the kitchen. The root cellar retained a consistent cool and humid environment perfect for storing root vegetables like potatoes and radishes, and orchard fruits, such as apples and pears. A large portion of the 100-acre property surrounding the house was used to grow garden vegetables, orchard fruit and livestock. The family may have helped on the farm but the vast majority of the work was done by enslaved persons.
Pie Safe
Original to the house, this pie safe was a 19th century necessity that allowed food to cool, while keeping the insects off. Since refrigeration wasn’t an option for the Hunter family, they would have canned or preserved most perishable foods and used their root cellar located under the kitchen. The root cellar retained a consistent cool and humid environment perfect for storing root vegetables like potatoes and radishes, and orchard fruits, such as apples and pears. A large portion of the 100-acre property surrounding the house was used to grow garden vegetables, orchard fruit and livestock. The family may have helped on the farm but the vast majority of the work was done by enslaved persons.
Pier Mirrors
In 1860, Amanda Hunter purchased the pier mirrors as part of the the Mitchell & Rammelsberg collection. Located at either end of the parlor, the mirrors and marble-topped bases cost $100, making them the most expensive part of the collection.
Pier Mirrors
In 1860, Amanda Hunter purchased the pier mirrors as part of the the Mitchell & Rammelsberg collection. Located at either end of the parlor, the mirrors and marble-topped bases cost $100, making them the most expensive part of the collection.
Pocket Chairs
In 1860, Amanda paid $9 each for the hall chairs she purchased from Mitchell & Rammelsberg Furniture Company. These chairs, referred to as “pocket chairs,” have a small compartment under the seat that can be used to store small items such as gloves, etc.
Pocket Chairs
In 1860, Amanda paid $9 each for the hall chairs she purchased from Mitchell & Rammelsberg Furniture Company. These chairs, referred to as “pocket chairs,” have a small compartment under the seat that can be used to store small items such as gloves, etc.
Pocket Doors
There are two sets of pocket doors in the home, both of which stand 10 ft high and slide into hidden pockets in the walls. This set is faux grained, which was the original treatment according to paint analysis. Faux graining is a painting technique that mimics the look of wood. With the exception of the formal parlors, there is faux graining in every room of the home.
Pocket Doors
There are two sets of pocket doors in the home, both of which stand 10 ft high and slide into hidden pockets in the walls. This set is faux grained, which was the original treatment according to paint analysis. Faux graining is a painting technique that mimics the look of wood. With the exception of the formal parlors, there is faux graining in every room of the home.
Rocking Chair, ca. 1860
This was Amanda Hunter’s rocking chair and is still in its original condition. By today’s standards, wealthy Victorian women like Amanda tended to be more “hands-off” mothers, and they nearly always had help raising their children. In large families, older girls were often responsible for their younger siblings and wealthy antebellum families often had an enslaved woman tend their children.
Rocking Chair, ca. 1860
This was Amanda Hunter’s rocking chair and is still in its original condition. By today’s standards, wealthy Victorian women like Amanda tended to be more “hands-off” mothers, and they nearly always had help raising their children. In large families, older girls were often responsible for their younger siblings and wealthy antebellum families often had an enslaved woman tend their children.
Rococo Table
This table is part of Amanda’s Mitchell & Rammelsberg furniture collection purchased in 1860, and is sometimes referred to as a turtle top table because of the shape of the marble top. This very well-crafted piece of furniture would have been displayed in the most formal of rooms.
Rococo Table
This table is part of Amanda’s Mitchell & Rammelsberg furniture collection purchased in 1860, and is sometimes referred to as a turtle top table because of the shape of the marble top. This very well-crafted piece of furniture would have been displayed in the most formal of rooms.
Sideboard, Wood and Marble
In 1860, Amanda purchased $1696.50 worth of furniture from Mitchell & Rammelsberg Furniture Company based in Cincinnati, Ohio. This Rococo Revival walnut sideboard with rosewood veneer was part of that furniture purchase and cost $90. It is believed that Hunter-Dawson State Historic Site has the largest collection of Mitchell & Rammelsberg furniture in situ, or still in the house, it was purchased for.
Site History
Hunter-Dawson State Historic Site illustrates the grand lifestyle once enjoyed by one of southeast Missouri’s wealthy families during the mid to late-1800s. William and Amanda Hunter ran successful family enterprises in the thriving Mississippi River town of New Madrid, including a dry goods store and a floating, riverboat store used to sell goods to other towns. New Madrid was both Amanda’s hometown and an important river port, ideally situated for their business. In 1859 as the couple planned their home, a combination of Greek Revival, Italianate, Georgian and French Colonial architecture, William aged 52 succumbed to yellow fever. Upon completion in 1860, Amanda and her seven surviving children moved into the house. In 1876, when Amanda died, the Hunter’s youngest daughter, Ella, and her husband, William Dawson, a Missouri and United States legislator, moved into the house. Descendants of the Hunter family continuously occupied the home until 1958. Adding to the significance of the site, it is estimated that the house contains approximately 80% of Amanda’s original furnishings and much of the family’s personal and business documentation. Several items of the Dawson's furniture and a large part of their library are also preserved in the home. It is believed that the site possesses one of the largest Mitchell & Rammelsberg furniture collections in the nation. Image courtesy of the N.Y. Public Library, ca. 1854.
Slip-Head Window
Slip-head windows, also called box head or jib windows, were common features in Southern architecture. These windows, which can also be used as a door, allow for greater air circulation, necessary in the sweltering summers. Extending to the floor, above each window lies a hidden pocket for window to slide into when opened, giving access to the balcony.
Slip-Head Window
Slip-head windows, also called box head or jib windows, were common features in Southern architecture. These windows, which can also be used as a door, allow for greater air circulation, necessary in the sweltering summers. Extending to the floor, above each window lies a hidden pocket for window to slide into when opened, giving access to the balcony.
Square Grand Piano, 1858
In 1858, this Reichenbach square grand piano was built in Philadelphia, and like all pianos of this time period, it has 85 keys. Square grand pianos lost popularity in the early 1900s with the introduction of space saving upright pianos. The piano was considered an ideal instrument for women as they could sit in feminine and graceful positions while playing. It is likely that Amanda and her daughters played the piano.
Square Grand Piano, 1858
In 1858, this Reichenbach square grand piano was built in Philadelphia, and like all pianos of this time period, it has 85 keys. Square grand pianos lost popularity in the early 1900s with the introduction of space saving upright pianos. The piano was considered an ideal instrument for women as they could sit in feminine and graceful positions while playing. It is likely that Amanda and her daughters played the piano.
Three-Quarter Youth Bed, ca. 1875-1900
As the name suggests, the three-quarter youth bed is roughly ¾ the size of a full size bed. The rails on the side of the bed can be lowered for older children or raised for younger children.
Three-Quarter Youth Bed, ca. 1875-1900
As the name suggests, the three-quarter youth bed is roughly ¾ the size of a full size bed. The rails on the side of the bed can be lowered for older children or raised for younger children.
Étagère, 1860, Rosewood and Marble
In 1860, Amanda Hunter purchased this étagère—a piece of furniture of French design with open shelves for displaying decorative objects—from the Mitchell & Rammelsberg Furniture Company. The étagère cost $50 and is made of solid rosewood in the Rococo Revival style.
Étagère, 1860, Rosewood and Marble
In 1860, Amanda Hunter purchased this étagère—a piece of furniture of French design with open shelves for displaying decorative objects—from the Mitchell & Rammelsberg Furniture Company. The étagère cost $50 and is made of solid rosewood in the Rococo Revival style.