Before Biltmore Estate: Earliest Inhabitants Posted on November 3, 2023 at 11:22 am.Written by Heather Angel The 8,000 acres of present-day Biltmore Estate have a rich history of inhabitants dating back millennia. In this two-part blog series, we recognize and share a brief history of some of the many people who have called this land home throughout history. Modern-day viewshed of Biltmore Estate Early Native American Roots George W. Vanderbilt chose to build his home at this site because of the spectacular mountain views and mild climate. Before his time, there were other reasons why people found this location desirable. Due to the confluence of the French Broad and Swannanoa Rivers, groups have settled here for almost 10,000 years. There were also two major trade routes that passed through this region, making it a much-used area for people from near and far. Modern archaeological investigations on Biltmore Estate show evidence of significant Native American occupations. They span many years, dating from the Early Archaic period (ca. 8000 BCE) to the late Pisgah phase (ca. 1500 CE) of the Mississippian period. One of the most significant Native American sites on the estate is known as the “Biltmore Mound and Village Site.” This earthen mound dates to the Connestee phase of the Middle Woodland period (ca. 200–600 CE), or around 1,400–1,800 years ago. Archaeological evidence suggests that the mound, which has been reduced from several hundred years of plowing, served as the substructure for a series of wooden town or council houses. These buildings were used as the civic and ceremonial centers of the surrounding village and the wider Native American settlements in the area. 1884 Royce, C. C. Map of the former territorial limits of the Cherokee “Nation of” Indians from the collection of the Library of Congress, Geography and Map division. Forced Removal of the Cherokee By the time European settlers began arriving in this region in the late 18th century, this land was officially recognized as Cherokee territory. After the Revolutionary War, pressure on Native populations increased. The Cherokee Nation ceded much of the land that nearly 100 years later would make up Vanderbilt’s 125,000-acre estate to the United States government in the Treaty of Holston and the First Treaty of Tellico in the 1790s. These land cessions were made through coercion and encroachment and rarely represented the wishes of the Cherokee people as a whole. The Indian Removal Act of 1830 granted the government the power to relocate tribes to land west of the Mississippi. Five years later, some members of the Cherokee signed the Treaty of New Echota, which paid them $5 million to leave their ancestral lands in the Southeast. The forced migration to the new Indian Territory in what is now Oklahoma in 1838 and 1839 became known as the Trail of Tears. The few who persevered to remain here or return later are the ancestors of the present-day Eastern Band of Cherokee Indians (EBCI). This tribe now mainly calls the Qualla Boundary their home, located about 40 miles west of Biltmore. In 1890, when Biltmore House was under construction, an Extra Census Bulletin from the U. S. Census Office totaled the Eastern Band of Cherokee Indians in North Carolina at 1,520 members. Despite their proximity, there seems to have been little interaction between George Vanderbilt or the estate and the EBCI. One exception is the sale of timber by a group of Cherokees to Carl Schenck during his time as Biltmore’s forester. There are also a few known early employees documented as claiming Cherokee ancestry. This photo taken February 25, 1893, shows progress on Biltmore House and the Walled Garden. The new structures contrast with the residence of the Wright family in the foreground, which was purchased by Vanderbilt in June 1888. Remembering Biltmore’s Residents While many people are familiar with the lives of George and Edith Vanderbilt, it is vital to Biltmore’s cultural history to acknowledge the many individuals who came before the Vanderbilts and who lived and worked on this land since their arrival, including thousands of tenants and employees. While there are many oral histories in Biltmore’s archives that speak to the experience of growing up on these grounds in the 20th century, the stories of most of those who came before have unfortunately been lost to time. In lieu of more detailed or personal accounts of individuals and communities who once lived on this land, it is essential that we acknowledge their existence as a way to honor and remember their lives and legacies. Through environmental stewardship practices, land conservation efforts, and collaborative research projects, Biltmore remains dedicated to being good stewards of this storied land that has been home to so many, including Native Americans, the African American Shiloh community, and all descendants of the people who came before us. Further Reading: For information on the transition of land ownership leading up to George Vanderbilt, read part two of this blog series, “Before Biltmore Estate: Changing Ownership.” Additional resources on this topic: As Long as the Grass Shall Grow: A history of Cherokee land cessions and the formation of Buncombe County, by the Buncombe County Register of Deeds The Trail of Tears: A Story of Cherokee Removal by Smithsonian’s National Museum of the American Indian National Park Service Trail of Tears map and guide.
George Vanderbilt: An American Renaissance Man Posted on May 25, 2023 at 12:45 pm.Written by Jean Sexton Was George Vanderbilt an American Renaissance man? “He certainly embodied many of the ideals of this period that flourished during his lifetime, and you can still see the influence of the era at Biltmore today,” said Meghan Forest, Associate Curator. What was the American Renaissance? George Vanderbilt (standing, right) traveling in Spain with his cousin Clarence Barker (seated, left), his niece Maria Louisa Schieffelin (seated, right), and her husband William Jay Schieffelin (standing, left), 1891. In the decades following the Civil War, the United States experienced an optimistic rebirth that mirrored the European Renaissance of the 17th century. “The American Renaissance was all about developing a national identity of what it means to be American, and part of that was setting up the United States as the successor to the cultural accomplishments of countries across Europe,” Meghan said. While the European Renaissance had stirred interest in exploration and experimentation in disciplines such as art, architecture, and science, the American Renaissance awakened a desire to explore classic themes and destinations, drawing inspiration from travels abroad to use at home. America’s coming of age The American Renaissance took place in the latter part of the 19th century, marking a renewed confidence in the nation’s outlook with time and attention lavished upon the development of ideas, urbanization, transportation, and new forms of communication. “It was the American Renaissance that made the Gilded Age possible,” said Meghan. “Innovation in technology, propelled by the intellectual energy of the time, led to industrial growth that gave rise to prominent American families like the Vanderbilts.” Once such families became wealthy, many contributed to pushing the arts farther than previous generations, so the American Renaissance ushered in the glamorous Gilded Age. American Renaissance ideals Photograph of Biltmore House and the Italian Garden, ca. 1910 It was during the confluence of both periods that George Vanderbilt first visited Asheville, North Carolina, and became enamored with the area. He envisioned building his new home there, creating a retreat for friends and family that would also showcase his interest in art and literature and house the treasures he collected during his travels. He retained the services of Richard Morris Hunt and landscape architect Frederick Law Olmsted—two of the most influential designers of the American Renaissance era—to create Biltmore House and its magnificent gardens and grounds. World’s Columbian Exposition (L-R) purchasing agent and agricultural consultant Edward Burnett, architect Richard Morris Hunt, landscape architect Frederick Law Olmsted, George Washington Vanderbilt, and architect Richard Howland Hunt, son of Richard Morris Hunt, 1892 In 1893, four years after construction began at Biltmore, Chicago hosted the World’s Columbian Exposition. With its remarkable “White City” thoughtfully planned by the nation’s leading designers including Hunt and Olmsted, the extraordinary event further elevated American Renaissance ideals such as world exploration, the experience of different cultures, and new technology like electricity. With Hunt and Olmsted traveling between Asheville and Chicago during this pivotal time to oversee their roles in both massive projects, it was evident that the Columbian Exposition and Vanderbilt’s new estate shared a common thread: both were created in the regal and fashionable Beaux Arts style that favored neoclassical architecture and European-inspired formal gardens. “In addition to Hunt and Olmsted’s presence there, we know that George Vanderbilt attended the Columbian Exposition, and that he contributed materials from Biltmore’s managed forestry initiative for estate forester Gifford Pinchot to display. The flags above the fireplace in the Biltmore House Banquet Hall represent the countries that participated in the Columbian Exposition,” Meghan said. Meaningful travel George Vanderbilt (seated, third from left) with unidentified gondola companions in Venice, 1887. Like many other wealthy Americans of the era, George Vanderbilt traveled extensively, and his trips to Europe, India, and Japan helped fuel his appreciation of history, architecture, and culture. In particular, his sojourns to Rome, Venice, Milan, and Florence—the epicenter of the Italian Renaissance—gave George Vanderbilt a passion for all things Italian, leading him to choose Italy as a romantic backdrop for the first six weeks of his and Edith Vanderbilt’s four-month European honeymoon. Renaissance art and patronage Nocturne: Battersea, c. 1871-1873, James Abbott McNeill Whistler, on display in Oak Sitting Room. George Vanderbilt purchased this piece in 1900 from dealer Wunderlich and Company. In order to succeed during the Italian Renaissance, many artists including Michelangelo, Da Vinci, and Botticelli sought and accepted the patronage of wealthy individuals and entities such as the church and the government in order to create works of lasting beauty. During America’s Renaissance, George Vanderbilt was an active patron of the arts, commissioning and collecting pieces from the new Impressionists as well as many other established artists of his day. Vanderbilt’s support extended beyond the stunning works he purchased; he also provided philanthropic support for certain libraries and art facilities in New York, educational and vocational support in Asheville, and corresponded with several notable artists including Claude Monet, John Singer Sargent, and James McNeill Whistler. Vanderbilt’s lasting legacy Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt. The appreciation of man and his capabilities flourished during the American Renaissance, and the nation felt uniquely positioned to take a leading role in the global arena. George Vanderbilt personified the outlook of this important period in our nation’s history, and, as a true American Renaissance man, his contributions continue to stand the test of time. Today, you can explore lingering expressions of the American Renaissance with a visit to Biltmore Estate in Asheville, NC. Highlights include America’s Largest Home®, still filled with many of the more than 50,000 objects in Biltmore’s collection, plus 75 acres of exquisitely landscaped and preserved formal gardens that gradually give way to meadows, fields, and managed forests surrounding the property. Plan your Biltmore visit now Visit like a Vanderbilt when you choose one of our private, historic Cottages on Biltmore Estate. Surround yourself with the architecture, travel, and art of the American Renaissance, and make your time with us even more unforgettable with an overnight retreat at one of our thoughtfully designed properties: Village Hotel on Biltmore Estate®, The Inn on Biltmore Estate®, or our historic private Cottages on Biltmore Estate™.
Afternoon Tea at Biltmore Is a Treasured Tradition Posted on May 9, 2023 at 12:00 am.Written by Jean Sexton Afternoon tea at Biltmore is a treasured tradition inspired by the Vanderbilt family. Imagine stepping into a world where time slows down, where the art of conversation is as carefully crafted as the menu itself. In this grand setting, surrounded by priceless artworks and antiques, you’re not just enjoying a refreshment – you’re savoring a slice of history. Afternoon tea at Biltmore Afternoon tea on the Loggia, May 1903. L-R: Edith Vanderbilt with unidentified dog, Mademoiselle Rambaud (Edith Vanderbilt’s former chaperone), Lila Vanderbilt Webb (George’s sister), Mary Webb (Lila’s sister-in-law), Isabella Stewart Gardner, William Blodgett II, and George Vanderbilt with a St. Bernard. Although “taking tea” often seems like a formal affair, archival records show that afternoon tea at America’s Largest Home® wasn’t always regimented. “We have photos that show the Vanderbilts and their guests having tea while lounging outside with their dogs,” said Lauren Henry, Curator of Interpretation. Another photo shows George Vanderbilt pouring tea for Edith at Buck Springs Lodge in a very rustic setting. “What this photo tells me is that tea was very much a part of their culture, an integral part of daily activities. They probably served it on camping trips!” Lauren said. The perfect place for afternoon tea Cousins John Nicholas Brown and Cornelia Vanderbilt at a tea party in 1906 Children were often included at tea with the Vanderbilts. “There is a letter from Edith Vanderbilt’s sister Pauline describing her day at Biltmore and talking about the children coming down for tea,” said Lauren. “It was unusual in those days for kids to be present at tea with the adults, but Pauline noted it was a good time to reconnect.” The Vanderbilts frequently served tea in the Tapestry Gallery. “I like to imagine that in the winter they pulled up chairs to the fireplace,” Lauren said. “And in warmer weather they sometimes enjoyed afternoon tea on the Loggia to take advantage of the cool breezes and breathtaking views all the way to Mt. Pisgah.” Served in style Here’s a selection of the stylish tea sets that the Vanderbilts and their guests enjoyed at Biltmore: George Vanderbilt’s elegant white china with burgundy and gold trim. It was manufactured by Minton and Spode-Copeland, and used for everyday occasions. This blue-and-gold porcelain tea set displayed in the Tapestry Gallery of Biltmore House was made in France around 1888; the lovely floral detailing shown here on the cup is a hallmark of Rococo revival style. The piece of fringed linen with red-and-gold cross stitch is also from the Biltmore collection. This silver Tiffany & Company tea set was a gift to George Vanderbilt from his mother and it is engraved with his and her initials. She gave him with the set—a gracious symbol of hospitality—to serve guests aboard Swannanoa, his private train car. Reserve afternoon tea at Biltmore today! A selection of sweet treats that you’ll enjoy as part of your Afternoon Tea at The Inn on Biltmore Estate® For more inspiration on the tradition of taking tea, reserve Afternoon Tea at the The Inn on Biltmore Estate®. It’s the perfect opportunity to relax with friends and feel just as if you were a special guest of the Vanderbilts. Your afternoon tea is served in The Dining Room of The Inn and features delights such as fresh-baked scones with clotted cream, honey, and preserves, artfully prepared sweet and savory canapés, and finely cut tea sandwiches. You can even indulge in a carefully crafted tea-infused cocktail or other spirited offerings.
George Vanderbilt: A Passion For Italy Posted on March 6, 2023 at 2:35 pm.Written by Jean Sexton George Vanderbilt–traveler, collector, and patron of the arts–appreciated the finer things in life, but had a special passion for the culture and creativity of Italy. His trips there and other regions he visited across Europe helped shape his appreciation for art, architecture, and fine wine. “Throughout his life, George Vanderbilt traveled the world, first with family and friends, and after he married, his wife Edith and their daughter Cornelia often accompanied him,” said Meghan Forest, Associate Curator. George Vanderbilt’s first Italian visit Archival image of the Colosseum, 1887. Rome, Italy. Based on correspondence in our archives, Italy seems to have been a favored destination for George Vanderbilt. He first visited the country in 1880 when he was 18 years old, taking in notable sites such as Rome and Vatican City. The visit included a stop in Milan where the church and Dominican convent of Sante Maria della Grazie was of particular interest as its refectory contains The Last Supper fresco painted by Italian Renaissance artist Leonardo da Vinci. Further travels in Italy The Last Supper fresco painting by Leonardo da Vinci, c. 1495–1498. In 1887, George Vanderbilt took an extended trip to Italy, taking in some of the well-known sites including Pisa Cathedral with its famously tilted bell tower, better known as the Leaning Tower of Pisa. He also visited Venice with its winding canals and Florence, the city long considered the epicenter of Italian Renaissance art and culture. Florence offers some of the most iconic treasures of the era, including the Uffizi Museum and the Cathedral de Santa Maria dell Fiore, generally referred to as the Duomo because of its two free-standing domes. George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887 Seven years later, George Vanderbilt returned to Italy with members of his family including his niece Adele Sloan. They visited Taormina and the ruins of the Taormina Amphitheatre built by the Greeks and renovated 600 years later by the Romans. Such sites were popular destinations during the American Renaissance of the late 19th century as travelers sought to understand the ancient world. Honeymooning in Italy Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy, c. 1898. “Another reason we believe George Vanderbilt had a passion for Italy is because he chose to take his new bride Edith there after they were wed in Paris in 1898. The Vanderbilts spent the first six weeks of their four-month honeymoon at Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy,” Meghan said. While there, the Vanderbilts took short trips to various museums and galleries, taking in sights such as the iconic Rialto Bridge over the Grand Canal in Venice. In Edith, George found a partner who shared his passion for history, literature, and the arts. In a letter to artist James McNeill Whistler, George wrote of their time in Italy, “It was Mrs. Vanderbilt’s first visit… It has been an added pleasure of course to see her delight and interest… “ * Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt Fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt. Featured blog image: George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887 *George Washington Vanderbilt to James McNeill Whistler. 10 Jul 1898. The Correspondence of James McNeill Whistler. Glasgow University Library, University of Glasgow: 05919.
Patron of the Arts: George Vanderbilt Posted on March 3, 2023 at 12:00 am.Written by Jean Sexton As a patron of the arts, George Vanderbilt remains a remarkable example of the difference one man can make in the field of fine art and education. With his deep appreciation and understanding of arts and languages and his vision for a self-sustaining country estate, George Vanderbilt was part of the American Renaissance that flourished during the Gilded Age. Detail of George Vanderbilt portrait by John Singer Sargent, painted in 1890. A patron of the arts George Vanderbilt did more than simply collect and appreciate art, however; he was also a passionate patron who befriended artists such as John Singer Sargent and James McNeill Whistler, commissioning their works for his home and corresponding with them far beyond the particulars of portraiture. Literary writers including Edith Wharton and Henry James were welcomed at Biltmore, and George Vanderbilt’s close friend and author Paul Leicester Ford spent several weeks at the estate while working on his novel Janice Meredith: A Story of the American Revolution. (left) George Vanderbilt’s personal bookplate. Library patron In addition to his personal friendships with artists, George Vanderbilt was a great proponent of public access to the arts, using his philanthropic values to ensure that others could benefit from institutions such as free lending libraries. While most libraries of that era required patrons to pay for the books they borrowed, Vanderbilt provided funding to build the Jackson Square Free Circulating Library of the New York Public Library System and filled it with books that he donated. This library was one of the first open to the general public. Rhinocerous print by Albrecht Dürer in Biltmore’s collection. Support for young artists Another of George Vanderbilt’s most significant donations was to The American Fine Arts Society in support of young artists. In 1892, Vanderbilt donated $100,000 to pay for the property and construct the building that the Society would use for exhibiting members’ work. Named the Vanderbilt Gallery in his honor, the inaugural exhibition was a show of prints by Rembrandt and Albrecht Dürer, plus prints based on the paintings of Sir Joshua Reynolds, all from George Vanderbilt’s personal collection. While some of the Durer prints and those after the style of Reynolds remain in the Biltmore collection, the original Rembrandt prints were sold to J.P. Morgan. You can see a selection of detailed reproductions in the Oak Sitting Room of Biltmore House. Formal photo portrait of young George Vanderbilt (detail) Living the legacy We continue George Vanderbilt’s passion for the arts today by hosting exhibitions such as Legends of Art & Innovation at Biltmore featuring four separate large-scale, multi-sensory events created and produced by Grande Experiences using the very latest in immersive technology. Past exhibitions have illuminated the remarkable lives of artists such as Van Gogh, Monet, and Da Vinci, while the current Italian Renaissance Alive exhibition showcases a wide range of timeless masterpieces from that dramatic era in European history. Each individual exhibition offers fascinating ties to Vanderbilt’s collection of treasures on display in Biltmore House, his magnificent family home, in Asheville, North Carolina. Featured: Bronze bust of George Vanderbilt by Mary Grant
The Lasting Legacy of John Cecil Posted on March 2, 2023 at 12:00 am.Written by Jean Sexton The lasting legacy of John Cecil is founded on his contributions to Biltmore during his lifetime, which helped preserve the estate for future generations. Let’s take a look at how he became such an important part of Biltmore’s history. John Cecil’s early life The Honorable John Francis Amherst Cecil, 1924 John Francis Amherst Cecil grew up in the English countryside of Norfolk. He was the third son of Lord Cecil and the Baroness Amherst of Hackney. His father was a descendant of William Cecil, Lord Burghley, who was Lord High Treasurer to Queen Elizabeth 1. As a young man, John studied history and international law at the New College of Oxford University before becoming a member of the British diplomatic corps. He served in Egypt, Spain, and Czechoslovakia before being posted to Washington where he rose to the position of First Secretary of the British Embassy. John Cecil met Cornelia Stuyvesant Vanderbilt in Washington, D.C., where she and her mother Edith Vanderbilt spent a great deal of time in the years following George Vanderbilt’s death. Ten years older than Cornelia, John was one of a group of eligible gentlemen known as the “British bachelors” in the capitol’s social circles. A grand wedding The Honorable and Mrs. John Francis Amherst Cecil, 1924. This portrait, shot by noted London photographer Langfier, was taken when Cornelia was presented to Queen Mary of the United Kingdom following her wedding. Since John Cecil was a member of the nobility, the couple followed the tradition of formally presenting his bride to English society. Cornelia wore a dress made out of her modified wedding gown and veil. Of all the romantic celebrations Biltmore Estate has witnessed, none have been quite as spectacular as the wedding of American heiress Cornelia Stuyvesant Vanderbilt to the Honorable John Francis Amherst Cecil on April 29, 1924. Hundreds of invitations were extended to friends and family, and the guest list included many well-known public and diplomatic figures of the time. Life at Biltmore (L-R back row) Leander McCormick-Goodhart, John Cecil; (front row) H. H. Sims, Amelia “Mitzi” Sims, Cornelia Vanderbilt, Rachel Vanderbilt, and Benjamin Bernard in front of Biltmore House, 1925 Shortly before his marriage to Cornelia Stuyvesant Vanderbilt, Cecil resigned his diplomatic position, announcing that after the wedding he would make Biltmore his primary residence and would take an active role in managing the estate. After their honeymoon, the couple lived at Biltmore, continuing the legacy of hospitality for which the estate was known, as well as managing the property and farming operations. Cornelia and John Cecil (central figures) at the opening of Biltmore House to the public in 1930. During the Great Depression, in a bid to boost the local economy and bring tourists to the region, the Cecils worked with the Asheville Area Chamber of Commerce to open Biltmore House to the public in 1930. Building a legacy John Cecil driving in front of Biltmore House, c. 1925 The Cecils divorced in 1934, with Cornelia taking the couple’s two young sons with her to Europe to be educated. John Cecil remained at Biltmore, enjoying the life of a country gentleman while taking an active role in the management of Biltmore House and becoming involved with several community organizations including the Biltmore Hospital and All Souls’ Church. Together with Edith Vanderbilt and Judge Junius Adams, John Cecil provided leadership for The Biltmore Company, which was organized in 1932 to manage the estate. He returned to his native England during World War II as Minister of Information, but came back to Asheville and took up residence at Biltmore again when the conflict ended. A tribute to John Cecil The Hon. John F. A. Cecil (left) dressed as Santa Claus with Santa’s elves at a Christmas party at the Biltmore Forest Country Club, ca. 1950. Courtesy of Biltmore Forest Country Club and Sheila Fender, Asheville, N.C. John Cecil developed enduring relationships with estate residents who remembered him as a kind, down-to-earth gentleman. At annual Christmas parties, he often portrayed Santa Claus, emerging from one of the vast fireplaces in the Banquet Hall with a giant bag of gifts over his shoulder, much to the delight and wonder of the children in attendance. In his book Lady on the Hill, John Cecil’s younger son William A.V. Cecil wrote that his father “had a deep appreciation for the treasures in the house and entertained his guests by translating the Old Latin woven into the tapestries. He brought a sense of British propriety to the chateau’s new role as tourist attraction with an approach that was both Old World and Madison Avenue. For example, he insisted that the staff place fresh-cut flowers in the rooms opened to visitors to discount the appearance of a dusty museum. His philosophy became a standard throughout Biltmore’s public life.” John Cecil’s lasting legacy John Cecil’s contributions to Biltmore have helped preserve the estate for future generations. Today, we honor John Cecil’s contributions to the legacy of Biltmore with the John Francis Amherst Cecil Scholarship established in his honor. This scholarship is a tribute to his devotion to the preservation and well-being of Biltmore and its employees, and the scholarship helps assist the dependents of Biltmore employees with the rising costs of higher education. Featured image: Candid photograph of John Cecil
Edith Vanderbilt & Photography Posted on March 1, 2023 at 11:59 am.Written by Amy Dangelico Photography was one of Edith Vanderbilt’s many passions. In turn, her photographs of life at Biltmore Estate in Asheville, NC help inform our curatorial interpretations today. With the introduction of roll film and the hand-held camera in the 1880s, photography became truly accessible to casual amateurs for the first time. There are a few distinct ways that we know that Edith embraced this new medium and enjoyed photography throughout her lifetime. Archival photograph of Edith Vanderbilt with a camera and tripod along the banks of the French Broad River, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion. Photos of Edith Vanderbilt with a Camera One of the most concrete ways we know of Edith’s interest in photography is thanks to photographs in the Biltmore collection in which she is pictured with a camera in hand. Many of these photos came from one series in particular. In the winter of 1905-1906, George Vanderbilt’s niece Edith Fabbri and her husband Ernesto visited Biltmore. During their trip, Edith Vanderbilt and Ernesto appear to have gone on a photography excursion on the estate and in nearby Biltmore Village. Multiple images from this series taken by Ernesto capture Edith with her camera and a tripod. Archival photograph of George Vanderbilt on a horse in front of Biltmore House. Reverse reads “Sept. 25th 1901, Taken, developed and printed, without help” in Edith Vanderbilt’s handwriting. Photos with Edith Vanderbilt’s Handwriting on the Back Additionally, there are more than a dozen photographs in our archival collection that we know were captured by Edith as her distinct handwriting is on the back of the images. Not only was she taking these photos, but Edith was also learning to develop many of them herself. She seemed very proud of this skill set, writing on the back of one photograph: “Taken, developed and printed, without help.” Three of the 14 copies of the archival photograph of George and newborn Cornelia Vanderbilt on the Loggia, October 1900. These photos were presumably taken by Edith Vanderbilt. Multiple Copies of Photos of Family Moments There are also many photographs we presume to have been taken by Edith, including shots of more intimate family moments. For instance, she was likely responsible for the images of George Vanderbilt with their newborn daughter Cornelia on the Loggia. In our archival collection, there are 14 copies of what appear to be essentially the same image from that series. However, each of the copies varies slightly in exposure and cropping, which speaks to Edith’s experimenting with development techniques as she worked to hone her craft. Edith Vanderbilt’s No. 4 Panoram Kodak camera Model B from ca. 1900-1903. This archival object is currently on display in The Biltmore Legacy as part of our “The Vanderbilts at Home and Abroad” exhibition. Location of the Edith Vanderbilt’s Darkroom We know that Edith was developing her own photographs, but we do not know with certainty the location of the darkroom she used. One archival manuscript includes mention of a “Photograph Room” in the Bachelors’ Wing of Biltmore House. However, we’ve yet to find additional sources to confirm where this space was located and how it was used. There are also employee recollections of darkroom equipment being present in the Basement, though it is unclear if this was the location of the equipment when Edith lived in Biltmore House or if it was later moved. Our curatorial team continues to research this topic. While we may not know the full extent of Edith Vanderbilt’s engagement with the modern hobby of photography, her photographs—as well as others presumed to have been taken by her—offer glimpses into life at Biltmore during the Vanderbilts’ era that we would not have otherwise. Feature image: Archival photograph of Edith Vanderbilt with a camera and tripod in Biltmore Village, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion.
Preserving the Legacy of Cornelia Vanderbilt’s “Baby Tree” Posted on February 17, 2023 at 10:53 am.Written by Amy Dangelico In honor of the arrival of George and Edith Vanderbilt’s first and only child, a “baby tree” was planted just after her christening. The Baby Tree: A Cucumbertree Magnolia The Vanderbilts welcomed Cornelia Stuyvesant Vanderbilt in the late summer of 1900. In October of that year, a cucumbertree magnolia, known to botanists as Magnolia acuminata, was planted in Cornelia’s honor. George Vanderbilt with newborn daughter Cornelia on the Loggia of Biltmore House, September 30, 1900 The cucumbertree is a deciduous magnolia with large oblong leaves. Unlike most other magnolias, its flowers are yellowish green and not very showy, causing them to often go unnoticed when they bloom in late May or early June. In its early stages, the green, fleshy fruit roughly resembles a small cucumber, hence the tree’s name. Biltmore’s botanist, Chauncey Beadle, had collected the scarlet seeds of this indigenous tree found growing along the banks of the French Broad River near the estate. Beadle propagated the seeds in the Biltmore Nursery. In a letter within Biltmore’s archives, Beadle wrote: “The seedlings resulting from this sowing were planted out in nursery rows, cultivated and pruned and eventually, placed along the roads and paths of the Estate with the exception of one tree, a particularly beautiful and thrifty individual, which remained on [sic] the nursery until chosen for the noteworthy occasion of which this writing bears record.” The planting ceremony for Cornelia’s Baby Tree, October 1900 The Planting Ceremony The planting of the cucumbertree magnolia, known fondly as the “baby tree” or “Cornelia’s tree,” was a small and intimate event. The Vanderbilt family, Beadle, Dr. Samuel Westray Battle, and a few estate workers were the only attendants. A 1900 Asheville Daily Citizen article states: “The spot selected is in a beautiful grassy dell near Biltmore House. The tree itself, now but a sapling of twelve feet in height, is expected to be 60 feet above the ground when little Cornelia reaches the age of 20 years. A few years after that event, it is expected that it will reach a height of 100 feet. It lives centuries, and is one of the prides of our beautiful southern forests.” The baby tree grew to be massive, standing proudly in the Azalea Garden, just below the junction of the two main paths leading into the garden below the Conservatory and greenhouses. The second generation cucumbertree magnolia (center), located in Biltmore’s Azalea Garden The Baby Tree’s Second Generation After surviving more than a century, the cucumbertree succumbed to decay. Though a difficult decision, it was removed in September 2008. By that time, the baby tree had lost most of its bark and had just a few remaining branches. Fortunately, the historical significance of the tree along with the gorgeous color and diversity of its wood grain made its timber ideal for repurposing. The usable wood was custom-sawn into thick slabs and dried to create “high boy” cocktail tables at Cedric’s® Tavern in Antler Hill Village. Today, the second generation cucumbertree magnolia, which seeded naturally when the original baby tree was still living, can be found thriving in the same exact location in the Azalea Garden, preserving the legacy of this historic tree.
Art History at Biltmore: Tales Within Tapestries Posted on January 2, 2023 at 1:53 pm.Written by Jean Sexton At Biltmore Estate in Asheville, NC, some of the most notable art history in our collection appears as tales within tapestries. Let’s explore some of the pieces that were created during the Renaissance—a time when patrons often commissioned artists to create masterpieces based on religious, mythological, and historical symbols and allegory. Biltmore House Tapestry Gallery At 90 feet in length, the Tapestry Gallery is the longest room in Biltmore House. Painted limestone overmantels above each fireplace visually divide the room into thirds, with each third devoted to one of the three tapestries George Vanderbilt acquired from an original set of seven known as “The Triumph of the Seven Virtues.” The Tapestry Gallery is the longest room in Biltmore House, and was designed to showcase part of a set of tapestries known as The Triumph of the Seven Virtues. Woven from wool and silk in Flanders (now part of Belgium) between 1525–1535, these tapestries were intended to illustrate how the seven virtues−faith, prudence, charity, chastity, temperance, fortitude, and justice−would always prevail over vice. “No one knows exactly who originally commissioned the tapestries or where they hung, but it’s speculated that they would have been displayed in the manor house of a wealthy and aristocratic family,” said Lauren Henry, Curator. Centuries of survival The “Triumph of Charity” shown here is one of the three tapestries from the “Triumph of Seven Virtues” series that George Vanderbilt purchased for Biltmore House. Other examples of the remaining tapestries are housed in just 10 collections across the world, including the Cluny Museum in Paris, the Walker Art Gallery in Liverpool, England, and The Fine Arts Museums of San Francisco. While multiple sets were created, very few of them survived through the centuries, and there are no examples of the Triumph of Temperance still in existence. “There are three in Biltmore’s collection, arranged from left to right in the Tapestry Galley: The Triumph of Prudence, The Triumph of Faith, and The Triumph of Charity,” Lauren said. Triumph of Prudence Detail from the “Virtue of Prudence” tapestry showing King David and Abigail from 1 Samuel 25. Each virtue is illustrated through biblical stories and symbols that would have been familiar to people in 16th-century Europe. To more modern eyes, however, the meaning of the figures in the tapestries can be a bit mysterious. Detail of one of three fearsome serpent heads featured in the “Triumph of Prudence” tapestry. Triumph of Faith The central figure in the “Triumph of Faith” represents The Church as a body. In the upper left corner, there is a depiction of the story of Jacob’s ladder with an angel climbing into heaven. The chariot of fire next to it represents the prophet Elijah, while the blindfolded woman on the pedestal next to that symbolizes the old law. “The tapestry in the center of the Tapestry Gallery is the Triumph of Faith, which is believed to be the only one still in existence,” said Lauren. The Latin inscription at the top reads “Holy Faith believes by the Divine Word and worships God through every dutiful practice.” Symbolism Detail of the “Triumph of Faith” showing the figure of the winged man riding a lion. The virtue of Faith is depicted as a woman holding a church, chalice and cross. Below her, the figure of a winged man represents the human aspect of Christ, riding on a lion, representing both the apostle Mark and the Resurrection. The ox represents the sacramental nature of Christ. The Eagle represents the apostle John. All four of these symbols were said to have been seen as guardians of the throne of God by the prophet Ezekiel. Grand Staircase Tapestry Woven in rich reds, blues, and golds, this 15th-16th century tapestry depicts the Christ child with the Madonna and Saint Anne. Another beautiful tapestry in Biltmore’s collection is displayed in a frame at the first landing on the Grand Staircase. “This is a Franco-Flemish Renaissance biblical tapestry, created in the late 15th or early 16th century,” said Lauren. “It portrays the Christ child with his mother, the Madonna, and her mother Saint Anne. The three figures are seated on a throne with a chapel and a fortress in the distance.” This tapestry is one of the older pieces in the Biltmore collection, and while Museum Services doesn’t know as much about it as they do some of the others, they continue to look for details in both the provenance of the piece and its symbolism. “One thing we can tell, just from the design, is that it was commissioned by an extremely wealthy patron,” Lauren said. “Notice how much blue is used throughout the tapestry, both in the background, and in the robes of the Madonna and Saint Anne. Before the advent of mass-produced dyes, this ‘ultramarine’ blue—which would have been shockingly vibrant when it was first woven—was incredibly difficult to make and, therefore, very expensive.” Discover Biltmore’s tapestries Plan your visit now to see the remarkable tapestries noted here–plus the grand Venus and Vulcan tapestry series that graces the Banquet Hall. Featured image: Detail from the Triumph of Prudence tapestry in the Tapestry Gallery of Biltmore House.
Hosts in Biltmore House: A Brief History Posted on October 10, 2022 at 11:46 am.Written by Amy Dangelico Our Interpretive Hosts are integral to visits to Biltmore House in Asheville, NC. Whether you’re enjoying the main tour route of America’s Largest Home® or exploring via one of our more in-depth, behind-the-scenes tours, these trained storytellers strive to offer an accurate and entertaining interpretation of Biltmore’s history and collections. But did you know that Interpretive Hosts weren’t always part of the Biltmore House experience? Let’s take a look back at the history of touring Biltmore, which began before the house was even opened. Archival estate admission ticket, ca. 1920. Visiting the Gardens & Grounds of the Estate According to archival correspondence, George Vanderbilt allowed the public to drive on estate roads as early as 1894—before the construction of Biltmore House was even completed! But it wasn’t until October 1903 that a formalized pass system was developed, which included an admission cost for everyone, except select guests of the Vanderbilts. The reverse side of these original estate tickets included the following regulations: The plucking of flowers or breaking of trees or shrubs is forbidden.It is forbidden to drive over planted areas or the borders of roads.The taking of photographs anywhere on the Estate is prohibited. And the admission rates at this time were as follows: 25c for a vehicle drawn by one horse and carrying 1 or 2 persons, or for a person on horseback.50c for a 2-horse vehicle carrying not over five persons. For each additional person 10c; for each additional horse 25c.10c for a single person on foot or with a bicycle. According to our records, not much changed in terms of regulations or pricing for the first 18 or so years after this initial pass system was developed. In 1921, charges for admission were updated as follows: 5 passenger car (4 passengers & driver) $1; 7 passenger car (6 passengers & driver) $1.50. Cornelia Vanderbilt Cecil and John A. V. Cecil (center) at the public opening of Biltmore House, 1930. Visiting Biltmore House In 1930, George Vanderbilt’s daughter Cornelia and her husband John A. V. Cecil opened Biltmore House to the public. This decision was made in response to requests to increase tourism in the Asheville area during the Depression and to generate income to preserve the estate. This milestone was a fundamental shift in the way the public was able to experience Biltmore. Previous to this, only select guests of the Vanderbilts were fortunate enough to see the interiors of America’s Largest Home® and the invaluable collection it housed. “Mr. Cecil and I hope that through opening Biltmore House to the public, Asheville and Western North Carolina will derive all the benefit they deserve and that the people who go through the house and the estate will get as much pleasure and enjoyment out of it as Mr. Cecil and I do in making it possible. I also want to say that we both feel in doing this, it is a fitting memorial to my father. After all, it was his life’s work and creation.” — Cornelia Vanderbilt Cecil’s welcome speech at the opening of Biltmore House, March 15, 1930, as quoted in the Asheville Citizen One of our Biltmore Interpretive Hosts leads a small group tour in the Winter Garden. Hosts in Biltmore House In the late 1980s, hosts were introduced to the Biltmore House experience. For the first time, guests were offered accurate information about the collection, the Vanderbilt family, and the house itself. Today, our Interpretive Hosts undergo extensive training to ensure they have knowledge about every object on display—yet they do not follow a script, making each of their interactions with our guests truly unique. We invite you to discover all of our wonderful tour offerings at Biltmore House, and enjoy a one-of-a-kind experience every time, thanks to our talented Interpretive Hosts.