Biltmore Estate® Cardinal’s Crest® Wine Takes Flight! Posted on March 16, 2023 at 2:17 pm.Written by Jean Sexton Biltmore Estate® Cardinal’s Crest wine takes flight with a breathtaking new label that will help you see this long-time guest favorite in a whole new light. Cardinal’s Crest tasting notes Biltmore Estate® Cardinal’s Crest Winemaker’s Blend is an easy-drinking red wine that pairs well with a wide variety of your favorite flavors. Blackberry notes and smooth tannins make Cardinal’s Crest a soft, easy-drinking wine perfect for solo sipping and good-time gatherings. Historic inspiration “For many years, Cardinal’s Crest has enjoyed a loyal following with those who appreciate how approachable it is,” said Meghan Forest, Associate Curator. “What you may not realize, however, is that this wine’s story is rooted in one of George Vanderbilt’s most interesting possessions: a pair of 17th-century hangings embroidered with gold and silver threads.” This likeness of Cardinal Richelieu, engraved by Robert Nanteuil, is one of many prints that George Vanderbilt collected and displayed in Biltmore House. According to Meghan, the original hangings once belonged to Cardinal Richelieu (1585-1642), a French clergyman, nobleman, and statesman who served as Chief Minister for King Louis XIII. “These ornate textiles are a fascinating part of Biltmore’s extensive collection, and they definitely illustrate George Vanderbilt’s deep interests in history, politics, religion, and the arts,” said Meghan. One of two ornate embroidered 17th-century Cardinal Richelieu hangings that George Vanderbilt collected. Both original textiles are now in storage due to their age and fragility. × Detail of the 17th-century Cardinal Richelieu hangings in the Biltmore collection. The star symbol is a reference to the Order of the Holy Spirit, an order of chivalry awarded to leading French nobles to recognize their loyalty to the Crown. (You’ll see the same symbol in the engraved print of Richelieu by Robert Nanteuil previously referenced in the blog.) × An unidentified guest in Biltmore House standing in front of the Cardinal Richelieu hangings, ca. 1898. × The Richelieu family coat of arms includes a central silver ground with three crimson chevrons like you see in the hangings. The motto ‘Semper Idem’ translates to ‘Always the Same’ in Latin, which is also a good motto for a delicious wine like Cardinal’s Crest that is consistent from vintage to vintage! × “The hangings are the most beautiful dark red silk velvet with embroidery and threadwork in real gold and silver. They hung in Biltmore House in the past, and though we wish we could still display these exceptional pieces for our guests, textiles tend to become very fragile as they age, so we have now placed them in storage to conserve them and prevent further deterioration,” Meghan said. Modern inspiration “The name Cardinal’s Crest was selected to honor these extraordinary hangings in Biltmore’s collection, and to echo the rich, velvety red depths of the wine itself–it was a perfect pairing of past and present!” said Meghan. It is difficult, however, to tell such a complex story on the back label of a wine bottle, and over time, Cardinal’s Crest became associated with a different type of cardinal: North Carolina’s state bird. “It makes sense because male cardinals are a vivid red with a distinctive crest of feathers on their head, and because Biltmore is so deeply rooted in North Carolina history,” Meghan said. Creating the new Cardinal’s Crest label In 2022, Biltmore’s wine team decided it was time to share the story of Cardinal’s Crest more broadly, so they turned to Lisa Vogel, Art Director, for a new label that would illustrate the appeal of this easy-drinking red blend. “For years, Cardinal’s Crest has flown under the radar of many wine enthusiasts, but Biltmore’s winemakers have always handcrafted it with the same high-quality grapes that you’d expect from any of our Biltmore Estate® Limited Release wines,” said Lisa. Flight of fancy The new Cardinal’s Crest label features production techniques such as gold foil and holographic foil stamps that create iridescence and a sense of movement. If you look closely at the cardinal, you’ll see that it’s composed of elements from the original hangings, while the gold lines in the background reference the golden embroidery threads. Lisa took inspiration from the historic Richelieu hangings and the modern take on North Carolina’s state bird, weaving both halves of the story together in a stunning label that immediately makes you want to know more about the wine in the bottle. “I took some of the most compelling details from the original hangings and created a dynamic cardinal in flight,” Lisa said. “It was a bit of ‘upcycling,’ if you will–using existing elements from a piece in Biltmore’s collection to create a fresh look for a new generation of wine enthusiasts.” Using a variety of production techniques to further enhance the finished design, Lisa including a gold hot foil stamp printed on the label to mimic the original gold threads. “There is also an iridescence to the labels when you see them in person; this is due to the holographic foil stamp used in addition to the gold foil stamp. Along with a textural emboss and spot varnish, all of the production finishes together create a label that is as luxe as the original textile!” said Lisa. Even though the original hangings must remain in storage, Lisa hopes her design for the Cardinal’s Crest label will give you a glimpse of their ornate beauty. Savor Cardinal’s Crest now Biltmore Estate® Cardinal’s Crest wine is perfect for sipping, savoring, and sangria! This delightful red wine—inspired by a flight of fancy with the Cardinal Richelieu hangings in Biltmore’s collection—pairs our winemaker’s passion for her craft with the estate’s cardinal mission of preservation. That’s why it’s designated a Winemaker’s Blend, to reflect Sharon Fenchak’s careful attention to sourcing and selecting outstanding fruit to handcraft our velvety smooth Cardinal’s Crest. Purchase Biltmore Estate Cardinal’s Crest in estate shops or online, and for refreshing summer sipping, try our easy recipe for Cardinal’s Crest Red Sangria!
Painting Conservation For A Landmark Destination Posted on March 13, 2023 at 5:55 pm.Written by Jean Sexton A painting conservation project for two original landscapes by Impressionist artist Claude Monet is just one of many preservation-related efforts that help make Biltmore Estate in Asheville, NC, such a landmark destination. Creating an impression Along with his signature, Claude Monet’s paintings show the characteristic style of his brush strokes. “From 1860–1905, a dynamic group of Paris-based artists led by Claude Monet challenged the norm and began painting in a much less formal manner than the Old Masters who came before them,” said Meghan Forest, Associate Curator. Monet’s work followed the textures of his subjects; the length of his brush strokes mimicked flowers and foliage, rippling water, and boats and structures. It was his 1872 painting Impression, Sunrise that sparked the term “Impressionists” from an art critic who felt this new style had an unfinished look. The trailblazing group of artists took the name as their own, arousing even more interest and curiosity about the new way of creating and viewing art. George Vanderbilt collected Impressionist art (L-R) “Young Algerian Girl” and “Child with an Orange” by Pierre-Auguste Renoir. Both are on display in the Breakfast Room of Biltmore House. True to his visionary approach, George Vanderbilt was an early adopter of the new Impressionist movement. His affinity for the style ultimately resulted in a collection of 16 Impressionist paintings by Monet, Renoir, Maufra, Manet, and Whistler. “Strada Romana a Bordighera,” an Italian landscape by Claude Monet, is installed in the Salon at Biltmore House. “Mr. Vanderbilt purchased three paintings by Claude Monet, and two of them remain in the Biltmore collection,” said Meghan. “One is a landscape entitled Strada Romana à Bordighera. Monet captured this colorful Italian scene in 1884 and Vanderbilt purchased it from Durand-Ruel, a noted dealer of Impressionist art, in 1892.” “Belle-Île, le chenal de Port-Goulphar” by Claude Monet is part of the Biltmore collection and is now displayed in the Salon of Biltmore House. In addition, Vanderbilt acquired a Monet seascape entitled Belle-Île, le chenal de Port-Goulphar, painted in 1886. “When we examined the paintings for display in Biltmore House, we found that they were structurally stable, but there was a layer of varnish that was added in the early 1980s that had grayed and dulled over time and there were a few areas where paint had begun to flake off,” Meghan said. The process of painting conservation Meghan Forest, Associate Curator with Biltmore’s Museum Services team, gives an overview of George Vanderbilt as a collector and shows highlights of the painting conservation process for the two Monets in the collection. Biltmore worked with painting conservator Ruth Cox who has treated a number of works in our private collection. Based in Durham, North Carolina, Ruth offers a wide range of professional services for the conservation of easel paintings in museum and private collections. “Ruth worked in stages to carefully remove the synthetic varnish and add paint to the areas where there was paint loss so that the paintings could look as close as possible to how they would’ve looked when Monet completed them in the late 1800s,” said Meghan. In addition, the materials Ruth used for painting conservation are readily distinguishable by scholars and reversible so that future conversation can be accomplished more easily. “The total conservation process for each painting took about 4-6 months, so it was nearly a year before both were ready for display,” Meghan noted. See the results for yourself Trip Hudgins and Greg Schmidt carefully lift Monet’s “Strada Romana a Bordighera” painting in its ornate frame. Plan a visit to Biltmore so you can see the results of this painting conservation work for yourself. Both paintings are displayed in the Salon on the First Floor of Biltmore House. Take time to see Monet’s process up close, including his brushwork, atmospheric effects, and study of light. Featured blog image: (L-R) Trip Hudgins, Engineering Operation Manager; Lori Garst, Curator; Nancy Rosebrock, Director of Conservation and Collections; and Greg Schmidt, Engineering Services, examine Belle-Île, le chenal de Port-Goulphar by Monet before hanging it in the Salon at Biltmore House.
The Grandest Guest Rooms: Restoring the Louis XV Suite Posted on May 2, 2022 at 11:55 am.Written by Amy Dangelico Our Museum Services team works year-round to preserve the dream of George Vanderbilt and the visionaries who helped him create Biltmore. Let’s take a closer look at one of their largest projects to date: restoring the Louis XV Suite—the grandest guest rooms in Biltmore House. About the Louis XV Suite The Louis XV Suite is a retreat consisting of four guest rooms: the Damask Room, the Claude Room, the Tyrolean Chimney Room, and the Louis XV Room. It is located on the second floor of Biltmore House and is included as part of the Biltmore House tour route during the cooler months of the year. The beautifully restored Damask Room boasts large windows that display captivating vistas in three directions: east, west, and south. Damask Room One of 33 guest bedrooms in Biltmore House, the Damask Room was named for silk damask draperies and distinct damask-style wallpaper. Situated at the southwest corner of the house, this room features commanding views of the South Terrace, Italian Garden, Deer Park, and the splendid mountains beyond. Biltmore’s Museum Services team, which includes curators, conservators, and collections specialists, spent more than three years on this extensive restoration. On the walls hangs a reproduction of the room’s original wallpaper, a complicated design that replicates on paper the look of a fine damask fabric. Small fragments of the original paper were found underneath door moldings. Our curators were able to match these fragments to full-sized samples of the wallpaper that had been placed in storage more than a century ago, enabling them to have an accurate reproduction made by Charles Rupert Designs, a company in Vancouver that specializes in surface-printed historic wallpapers. On display in the Damask Room is a breakfast setup including Vanderbilt china, demonstrating that guests could choose to have breakfast in their rooms if preferred. Biltmore’s conservators spent many weeks cleaning the antique marble and gilt fireplace and mantel in the Damask Room, in addition to conserving numerous pieces of American and English mahogany furniture for this room. The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette. Claude Room Like many rooms in Biltmore House, the Claude Room was named after one of George Vanderbilt’s favorite artists, the French painter Claude Lorrain. Several prints after paintings by Claude Lorrain originally hung in this room and are displayed here again. A master of 17th-century landscape painting, Claude presented nature as harmonious, serene, and often majestic. In 18th-century England, his works inspired new trends in landscape design. He also influenced later generations of landscape painters, including J.M.W. Turner. As with many of the unrestored rooms in Biltmore House, the Claude Room was used by our teams for supplemental storage prior to restoration. Among the noteworthy pieces of furniture from George Vanderbilt’s collection displayed in this room are an imposing ivory inlaid commode with attached mirror from Northern Italy that dates to the early 18th century, an English chest of drawers with an inlaid sunburst motif and a fall front concealing a writing surface and inner compartments from the same period, and an Italian Baroque-style kneehole desk in ebony and rosewood inlaid with ivory and mother of pearl. An original drawing in our archives shows how architect Richard Morris Hunt incorporated the tile stove into the Tyrolean Chimney Room’s impressive overmantel. Tyrolean Chimney Room The focal point of the Tyrolean Chimney Room is the overmantel, constructed from an antique tile stove known as a kachelöfen that George Vanderbilt most likely purchased in his travels through Europe. Stoves like this were used in central and northern Europe from the Middle Ages to heat castles, palaces, and ecclesiastical buildings. Eventually, they came to be used in the residences of the wealthy. Created in the 18th century, it is comprised of tin-glazed earthenware tiles hand-painted with exquisite floral designs. As part of this room’s restoration process, Biltmore’s objects conservator carefully repaired the chimney’s original floral design. The wallpaper in this room is an exact reproduction of the original, a simple but elegant floral design with delicate gold striping in the background. Our team contracted with Atelier d’Offard, a small company in Tours, France, that specializes in traditional block-printed wallpapers, to create an exact reproduction. The vibrant fabric in the Tyrolean Chimney Room is one of the most elaborate fabrics found in America’s Largest Home®. The cut and uncut silk velvet in beautiful shades of ivory, red, and green has been reproduced for use in this room. Prelle, a silk workshop in Lyon, France that has been in the same family for more than 250 years, wove this fabric on century-old Jacquard looms in the exact same manner as the original fabric purchased by George Vanderbilt. The Louis XV Room features mesmerizing views of the gardens and terraces to the east and south as well as a balcony overlooking the Esplanade. Louis XV Room The suite’s namesake and perhaps the grandest guest room in Biltmore House, the Louis XV Room takes its name from the French king. During most of his reign (1715–1774), French interiors were characterized by rococo design elements, including rounded forms, C-shaped curves, bright clear colors set off by white and gold, and light fanciful carving of foliage, shells, and other naturalistic motifs. Many of these same motifs were incorporated into the architectural scheme and furnishings in this room, as the Louis XV style was still very popular in the late 19th century. Cornelia Vanderbilt Cecil and her husband John Francis Amherst Cecil with their oldest son George Henry Vanderbilt Cecil as an infant, ca. 1925. Amid the elegant surroundings of the Louis XV Room is where George and Edith Vanderbilt’s only child, Cornelia Stuyvesant Vanderbilt, was born in 1900. Cornelia then chose this room to give birth to her two sons, George Henry Vanderbilt Cecil and William Amherst Vanderbilt Cecil in 1925 and 1928, respectively. From large pieces like wall coverings to small accents like furniture trim, our Museum Services team handles every element of restoration projects with loving care. Restoration of this room included the reproduction of the original gold and red silk cut velvet, which was hand-woven by Tassinari & Chatel in Lyon, France. Like Prelle, Tassinari & Chatel has specialized in the manufacture of fine silk fabrics for more than 200 years and has an international reputation for the quality of its fabrics. This fabric is used for wall covering and drapery. In addition, Biltmore’s conservation staff conserved all of the furnishings in the room, including Louis XV-style seating furniture and a Louis XV-style bed, as well the marble mantel, gilded rococo wall sconces, and an elaborate gilt mirror hanging over the fireplace. Watch to Learn More Biltmore’s Chief Curator, Darren Popoure, reflects on one of the estate’s largest preservation projects to date.
National Historic Landmark Designation Illustrates U.S. Heritage Posted on May 1, 2015 at 12:00 am.Written by Jean Sexton Biltmore in Asheville, North Carolina was officially nominated as a National Historic Landmark on May 23, 1963. The original landmark designation was based on the theme “Conservation of Natural Resources.” The description for Biltmore was: At Biltmore, the George W. Vanderbilt estate near Asheville, Gifford Pinchot demonstrated for the first time in the United States that scientific forest management could be profitable and was, thus, good business practice. Another ‘first’ in forestry occurred here in 1898 when the first forestry school in the United States was opened, the Biltmore Forest School, headed by Dr. Carl A. Schenck. Nearly 87,000 acres of the estate’s forest land is now included in Pisgah National Forest. The building in which the school was conducted is owned by the city of Asheville and used today for offices. Dr. Carl A. Schenck with Biltmore Forest School students, 1900. Image courtesy of National Forests of North Carolina Historic Photographs, D.H. Ramsey Library Special Collections, University of North Carolina Asheville, Asheville, NC. Beginning in 2000, Biltmore began an effort to expand the landmark designation beyond conservation to include the themes of architecture, landscape architecture, and social history, and to extend the period of significance to 1950 to include the contributions of Chauncey Beadle, estate superintendent, and improvements and significance of the Biltmore Dairy during those years. The Secretary of the Interior approved this expansion on April 5, 2005. Estate Superintendent Chauncey Beadle, 1948 Bill Alexander, Biltmore’s former landscape and forest historian and participant in the five-year project of gathering additional documentation for the expanded designation, said that Biltmore has to submit periodic reports to the National Park Service to describe any changes occurring to the property, including natural disasters and damage such as the floods and tree loss caused by Hurricanes Frances and Ivan in 2005. He also noted that the building referenced in the original nomination is located in Biltmore Village. “The office building at 1 Biltmore Plaza was where the Biltmore Forest School held its fall and winter classes for a number of years,” Bill said. “It was the first new, permanent structure completed in Biltmore Village after George Vanderbilt purchased the village in 1894, followed by the passenger train depot in 1895 and All Souls Church in 1896, all designed by architect Richard Morris Hunt.” 1 Biltmore Plaza in Biltmore Village, 1895 “Biltmore sold the office building to the City of Asheville in 1929, and leased the downstairs for corporate offices while the upstairs was used as a substation of the Asheville Fire Department.” Biltmore eventually repurchased the building and currently uses it for office space. The National Park Service lists more than 2,500 historic properties “that illustrate the heritage of the United States.” National Historic Landmarks include historic buildings, sites, structures, objects, and districts, with each landmark representing an outstanding aspect of American history and culture. Plan your visit to Biltmore today and enjoy the splendor of this National Historic Landmark.