Since April 23 is National Picnic Day and April 24 is National Sauvignon Blanc Day, it’s a perfect time to celebrate Sauvignon Blanc with a picnic that includes chilled bottles of our Biltmore Estate Sauvignon Blanc AND our Limited Release Sauvignon Blanc!
Enjoy warm weather sipping with friends and family!
What is Sauvignon Blanc?
The Sauvignon Blanc grape originated in the Bordeaux region of France where it was considered a good blending grape for other white wines rather than a stand-alone varietal.
Grapes ripening in Biltmore’s vineyard
Later, Sauvignon Blanc became widely cultivated in Sancerre and in the 20th century was known by the name of that region rather than the name of the varietal.
Sauvignon Blanc (or Sancerre) is highly desirable for its food-friendly qualities that make it a natural to pair with a variety of flavors.
Pair our 35th Anniversary Chardonnay with fresh seafood and other flavorful fare
A classic Sauvignon Blanc is crisp and refreshing, with a high acidity that can hold its own with rich seafood dishes and cheeses, yet is also delicious when sipped by itself.
Discover the Biltmore difference
Our Biltmore Estate Sauvignon Blanc is handcrafted for true varietal character with bright citrus aromas, fresh peach flavors, and an elegant finish.
Biltmore Winemaker Sharon Fenchak suggests pairing it well-chilled with everything from crab, lobster, oysters, scallops, or shellfish to goat and gruyère cheeses and green salads.
Savor Biltmore Estate Sauvignon Blanc with a variety of cheeses
“It is definitely refreshing,” said Sharon Fenchak, “but also unexpectedly creamy with hints of toasted coconut, key lime, and oak.”
Our Limited Release Sauvignon Blanc pairs perfectly with oysters and other seafood dishes
She enjoys serving it with foods like crab, flounder, oysters, and mozzarella cheese. “It’s a perfect partner for sushi, too,” Sharon said, “which can be very difficult for wine pairings.”
Stock up on Sauvignon Blanc and celebrate!
Pair Biltmore wines with your favorite comfort foods!
Go ahead and stock up on now on both our delightful Sauvignon Blanc styles, then invite friends and family for a backyard picnic, grill some crowd-pleasing Grilled Vegetable and Goat Cheese Pizzetas, and raise a glass to good times and great wines!
To create A Vanderbilt House Party, our Museum Services team worked with designer John Bright and his team at Cosprop, London, to recreate clothing and a vital piece of George and Edith’s ensembles from their engagement portraits: the diamond and ruby brooch George gave to her as an engagement gift.
Our team decided that the elaborate piece simply had to be recreated in order to truly capture Edith’s look in the portrait.
Place Vendôme in Paris, site of the Boucheron flagship store, ca. 1890–1900
First Things First
The first step for our team was to determine the jeweler that crafted Edith’s original brooch, which was part of a set that also included a choker necklace and tiara. One of our curators had a hunch that the piece resembled the work of Boucheron, a high-end French jewelry house established in 1858.
Boucheron’s company archivist was able to confirm that they indeed had a receipt of George Vanderbilt having purchased the set on May 7, 1898—just after his and Edith’s April engagement and prior to their June wedding.
Luckily, Boucheron was also able to share with us the original 1898 photo of brooch from their archives, which turned out to be an incredibly helpful reference in the recreation of the piece.
Left: Edith‘s engagement portrait, 1898; Right: archival catalog photo of the original brooch (Courtesy of Boucheron Heritage Department)
A Master Artisan
John Bright and the Cosprop team recommended artisan Martin Adams for the job. Martin specializes in making jewelry and jewelry-related props, including crowns, tiaras, regalia, and the like.
In his 43 years of prop-making, Martin has worked on countless notable movie, television, and theater productions, including Game of Thrones, Harry Potter, Titanic, The Crown, Downton Abbey, Hamilton, and the list truly just goes on and on.
Given the high demand and prestige of Martin’s work, our team considered themselves fortunate that he undertook recreating Edith’s brooch—and that he gave it such time.
Early sketch of the recreated brooch’s frame (Courtesy of Martin Adams)
The Recreation Begins
We supplied him with Boucheron’s archival photo of the brooch, which captured its fine details, as well as our photos of Edith wearing it, which showed the brooch from various angles, displaying its depth.
But in order to determine the actual size of the piece, the Cosprop team made photographic cut-outs of the brooch in various scales—under Martin’s direction—to see which size appeared to be most accurate against the backdrop of Edith’s gown as it, too, was being recreated.
Comparing the archival photo of the original with an early trial stage of construction (Courtesy of Martin Adams)
Martin then set to work on the frame of the piece, which he pierced from flat sheet copper. He filed the copper to give it steeply sloping sides, which gives the appearance of being delicate, while still maintaining its strength. The whole frame was them gently hammered over a dome-shaped block to give the brooch the correct dimension and depth.
Struggles with Stones
With the exception of two stones, all of the diamonds in the original brooch were boat-shaped stones, known as a marquise or navette cut. Martin estimated that the piece’s 46 diamonds were in five different sizes—from 6mm long (just under a quarter of an inch) to 14mm long (a bit more than half an inch).
He chose to use cubic zirconia which, particularly for a piece that will be viewed closely, would provide a much better representation of diamonds than would foil-backed stones, which are commonly found in costume jewelry.
Both the largest and smallest stone-mounts used in the recreation (Courtesy of Martin Adams)
As for the rubies, Martin obtained samples of the richest red stones available, including red cubic zirconia, synthetic rubies, and red paste stones—but none of them had deep enough color. He finally found just enough rich red Swarovski stones in the four main sizes he needed.
However, Martin had to settle for using a synthetic ruby as the massive cushion-shaped stone in the center. Although to the trained eye the stone may appear a slightly lighter shade than the rest, he simply could not find a better alternative to fit the size.
Comparing the accuracy of the custom-made mounts (left) with pre-made mounts (right) (Courtesy of Martin Adams)
And Struggles with Stone-Mounts
After a few failed attempts using ready-made stone-mounts, Martin realized he needed to make the mounts from scratch in order for the piece to be as authentically recreate Edith’s brooch.
This required him to make 10 different mount models—the main body of the brooch consists of five different stone-mount sizes, there are four different joint mounts, and one mount just for the central stone. He used the models to make molds, from which he then cast each of the mounts.
Martin’s final challenge was to grind down and polish the 14 “diamond” wafers for the pendant sections, as nothing like this was available to buy.
He then set all of the stones in their mounts individually. And after upwards of 200 hours of work, the brooch was complete.
The completed recreation of Edith Vanderbilt’s Boucheron brooch
The Finished Piece
“This turned out to be one of the most complicated and time-greedy jobs I have ever done,” said Martin. “It has also been one of the most rewarding.”
From start to finish, the entire process took nearly 8 months and the final result is nothing short of stunning. Having a recreation of this quality allows us to tell more of the Vanderbilts’ romance and courtship story through a tangible, exceptionally beautiful object.
We are overjoyed that it is now part of Biltmore’s permanent collection. The brooch is on display in the Tapestry Gallery of Biltmore House now through May 27 as part of our A Vanderbilt House Party exhibition.
In addition to boasting the latest and greatest in technology, Biltmore Estate required an exceptional team of domestic staff, also referred to as “domestic servants,” to ensure the house operated like a well-oiled machine.
How many domestic staff members would have worked in Biltmore House during George Vanderbilt’s era and what types of roles would they have held? Continue reading to find out!
Vignette of Mrs. King and Edith Vanderbilt in the Oak Sitting Room as displayed in the 2019 exhibition, “A Vanderbilt House Party.”
Staffing America’s Largest Home
In the days when George, Edith, and Cornelia Vanderbilt resided at Biltmore, they employed up to 40 staff members who each played a crucial role in the day-to-day operations of the house and stable. With large house parties of guests coming and going throughout the year, Biltmore functioned more like a luxury hotel than it did a house. As soon as guests arrived on the estate, the domestic staff ensured that each of their needs were met.
George Vanderbilt not only provided room, board, and uniforms to his staff, but he also compensated his employees with New York wages, a substantially higher rate than the Asheville standard. Staff wages could be up to $2 for higher-ranking staff, which is substantial given that a week of room and board typically cost $2.50.
Demographically speaking, the domestic staff was majority female. While many of the servants were native North Carolinians, there were also a number of employees from around the globe including an English Head Housekeeper, a French cook, a Swedish laundress, and an Irish Butler.
Higher Ranking Domestic Staff
The domestic staff members were classified into two groups: upper and lower staff. The higher the ranking, the more defined the responsibilities of their role. While each member of the staff provided invaluable service to the Vanderbilts, there were a few upper roles that maintained the standard of service and hospitality for which Biltmore is renowned.
The wardrobe of Biltmore’s Head Housekeeper was recreated for the exhibition A Vanderbilt House Party – The Gilded Age (which was on display in 2019. The detailed recreation included a chatelaine (an accessory used to carry keys) the Head Housekeeper would wear at all times.
HEAD HOUSEKEEPER
At Biltmore, the Head Housekeeper was among the highest-ranking staff members and the chief female servant. She reported directly to Edith Vanderbilt at Biltmore.
Whether single or married, the Head Housekeeper was always addressed as “Mrs.” out of respect.
The Head Housekeeper supervised all lower-ranking female staff, with the exception of the Chef’s kitchen staff.
She oversaw the cleaning of the house, household inventory, and held keys to the storerooms, pantries, china closet, and still room.
The Head Housekeeper typically dressed in a black dress.
Read more about Emily King, one of Biltmore’s first housekeepers.
BUTLER
As the highest-ranking male staff member in Biltmore, the Butler was responsible for all lower-ranking manservants.
His primary responsibility was to ensure that Mr. and Mrs. Vanderbilt and their guests were seamlessly served three meals daily, as well as afternoon tea.
The Butler was also tasked with maintaining the family china, crystal, and silver (which was stored in the aptly named Butler’s Pantry)
Other duties of the Butler: creating floral arrangements; overseeing the storage, decanting, and serving of wine; maintaining the clocks; greeting guests upon arrival; and assisting with the departures and return of Mr. and Mrs. Vanderbilt, as well as their guests.
The Butler’s livery was formal and often included a coat with tails and multiple monogrammed buttons.
An archival photograph of Edith Vanderbilt’s Lady’s Maid Martha Laube. Photograph courtesy of A. Babette Schmid Schmaus.
LADY’S MAID
The Lady’s Maid served as a personal companion to Edith and/or Cornelia Vanderbilt.
The Lady’s Maid traveled with her mistress and managed her correspondence, and she was also responsible for dressing her mistress and combing her hair.
The lady’s maid was also expected to be quite skilled at sewing, as her responsibilities included mending and packing Mrs. Vanderbilt and Cornelia’s clothing.
Instead of a uniform, the Lady’s Maid wore dresses gifted or no longer worn by her mistress, which was regarded as a privilege.
The lady’s maid was referred to by her last name.
Recreation of clothing worn by George Vanderbilt’s valet as it was displayed in “A Vanderbilt House Party” exhibition in 2019. Over his arm is a driving duster, as if he is assisting George prepare for a drive across his estate.
VALET
The valet was one of the older and more experienced members of the male staff (typically in his 30s) who reported directly to George Vanderbilt.
The valet traveled with George Vanderbilt and attended social functions and events with him.
His responsibilities included making travel arrangements for George Vanderbilt. (Mr. Vanderbilt would travel first class, while his valet traveled in second.)
The valet would be familiar with foreign languages, and be an expert of fishing and hunting to assist Mr. Vanderbilt.
He did not wear a uniform and, like the lady’s maid, he was addressed by his last name.
Each spring, Biltmore winemaker Sharon Fenchak handcrafts something special that captures the essence of the season.
Seasonal spring wine release
For 2019, Sharon has created a fragrantwhite wine that opens with a scented bouquet of tropical fruit, coconut, pineapple, vanilla, and clove.
“As you sip, you’ll experience tastes of rich tropical fruit with a complex body,” said Jill Whitfield, senior marketing manager for Biltmore Wines. “The wine has a smooth, balanced finish and mild acidity, so it’s perfect for pairing with your favorite warm weather fare and outdoor picnics.”
To complement this year’s wine, the label features original artwork of Biltmore’s iconic Winery clock tower. Bryan Koontz of Asheville, North Carolina—the same artist who created both our stunning 2018 Christmas at Biltmorewine labels—was selected to paint a scene that echoes the beautiful blossoms of our annual Biltmore Bloomscelebration.
Let’s take a look at the process for creating a commemorative label:
“We initially asked Bryan to present several concepts for the label,” Jill said. “He offered four options of the Winery’s clock tower showing different angles and perspectives, and we talked through each one, narrowing the choices down to a pair of sketches.”
The original four concept sketches Bryan Koontz presented for the 2019 spring wine label
Back to the drawing board
Bryan went back to the drawing board–literally–and worked the two sketches selected by Biltmore Winesand Lisa Vogel, art director, into more refined pencil drawings.
Bryan’s two drawings in the process of being refined
Interpreting the season
“We’ve worked with Bryan on several wine label projects,” noted Lisa, “and he is always able to quickly grasp the tone and manner that we need for a certain season or type of wine and to interpret it into a beautiful piece of art.”
Bringing the drawings to life with vibrant watercolors
All in the details
“We loved both versions of Bryan’s vivid watercolor paintings,” said Jill, “and it was hard to choose between them. I think it was his charming little detail of the bluebirds in the tree branches that finally decided the winner!”
Bryan finalizes details for the 2019 spring wine label
Sip a glass full of spring with us
Join us on April 5 in the Delille Room at the Winery from 5–6 p.m. for a special event honoring our 2019 spring release.
In addition to tasting the wine, you can meet artist Bryan Koontz and have him sign your bottles.
Make reservations now for this delightful opportunity by calling 800-411-3812. You can also purchase our 2019 spring release wine on the estate or online.
Featured blog image: Detail of the 2019 Spring Release label
Seeing the majestic appearance of Biltmore House today, you almost believe it was always part of the landscape. In reality, it was a monumental construction project as these photos from the Biltmore archives show in the first of two blog posts.
The House Site viewed from the top of the Rampe Douce, 1889
The photo above shows that Biltmore House was sited on the lower slope of Lone Pine Mountain, near the spot where George Vanderbilt had paused in 1888 to admire the view across the French Broad Valley westward towards Mt. Pisgah. Landscape architect Frederick Law Olmsted determined the orientation of the house, intending to maximize “the good distant outlook.”
Workers Commuting to Biltmore House, 1890
Workers constructed a temporary railroad spur from Biltmore Village (where it joined the main line of the Southern Railroad) to the building site. The railroad brought construction materials from the village. Each morning and evening the train also provided transportation. The stone carvers, aristocrats of the labor force, rode in borrowed passenger cars. The rest of the workers sat on supplies and construction equipment in the open freight cars. Although the rail spur was dismantled when construction was finished, remnants of at least one trestle are still visible and may be seen on the Behind-the-Scenes Legacy of the Land Tour.
Workmen on the Approach Road with Chauncey Beadle, Frederick Law Olmsted, and George Vanderbilt, 1891
On the front row, far right, are shown Chauncey Beadle, hired in 1890 to oversee the estate’s nursery; landscape architect Frederick Law Olmsted; and George Vanderbilt. In this photograph one is struck by fascinating details that reflect the lives and labor of the men involved in building the great Approach Road—such as the road crew’s lunch pails on top of the masonry wall. The Approach Road remains one of Olmsted’s enduring masterpieces. He wanted visitors to encounter a variety of plants along the sides of the road as one would see “paintings on the walls of a gallery.” The road was to be a wide corridor, with plants carefully graduated: low shrubs nearest the road, then higher shrubs, followed by low spreading trees, then higher growing pines and hardwoods. Olmsted intended “this arrangement …[to be] irregular, of course, with some caprice.”
Foundation of the western wall of the South Terrace looking south, 1891
Rough-hewn limestone for the foundations was delivered to the site by rail, and then moved by hand-cranked, geared hoists. Work began with the walls of Olmsted’s Bowling Green—today the South Terrace—which provided a place to deposit earth excavated from other foundations. The construction of the Bowling Green also offered an opportunity to test the organization of work crews and the procedures that would be used once work began on the house.
View of the Rampe Douce and Vista with construction sheds and train in foreground, Ca. 1892
The Shrub Garden, or Ramble (left), and Esplanade (right), looking west, 1892
As this photograph reveals, the Esplanade in front of Biltmore House served as the work yard for all construction activities. Note the sheds and yards of the stonecutters and woodworkers; piles of stone, sand, wood, brick, and tile; and the tracks of the railroad.
The Supervisors, 1892
Represented in this image are on-site contractors and supervisors. The supervising architect from Richard Morris Hunt’s office, Richard Sharp Smith, appears second from right. Others include F.M. Weeks, chief contractor, and W.A. Thompson, chief engineer. Smith designed many of the houses and cottages on the estate and in Biltmore Village. After the completion of Biltmore House, he left the Hunt firm and established his own architectural practice in Asheville. For the next 30 years, Smith designed many private homes and public buildings in Asheville and Western North Carolina. Stonemasons’ shed on Esplanade, 1892
Workers and a Baldwin steam engine on the Esplanade, 1892
Pre-existing Homestead (foreground), the Gardener’s Cottage and Walled Garden (middle), and the foundations of the Bowling Green and Residence looking northwest (background), February 25, 1893
Here a complex of hewn-log farm buildings occupies the foreground, with the Gardener’s Cottage behind. The latter was the first building to be completed on the estate. This reflected the importance placed by both Richard Morris Hunt and Frederick Law Olmsted on beginning the massive task of planting the landscape to hide the scars of construction. The Walled Garden appears nearly complete, while Biltmore House rises on the hill beyond.
See more archival photos in part 2 of our construction blog.
We continue a look into Biltmore’s photo archives to see more of the construction of Biltmore House. See part 1 here.
Above is a view of the East Elevation from the Vista, 1893
East Façade and Esplanade looking west, 1893 Bad weather caused problems and delays during construction. Subfreezing weather halted masonry work, as mortar would not set. Spring rains flooded the clay pits along the river, stopping the production of bricks.
Entrance Hall and Winter Garden looking south, 1893 The Winter Garden is the hub from which the rooms of the main floor radiate. It creates an “all weather” interior courtyard. Particularly in winter, the lush, subtropical plants provide a green, inviting refuge from the cold and sometimes snowy world beyond Biltmore House’s walls.
East Façade, Base of Staircase and Library Wing Looking West, 1894 Stone carvers typically finished ornamental work after rough stone had been set in the wall. The workman standing on the plinth on the Stair Tower provides a sense of scale.
Biltmore House looking southwest, March 10, 1894 After more than four years of construction, the outline of Biltmore House is apparent. In the foreground, the lower story of the Porte Cochere’s tower nears completion along with the curving interior wall of the Stable Courtyard. Note the scaffolding on the Porte Cochere’s dormers where carved ornament is being finished. The steel trusses will support the roof’s slates and copper ornament when completed. In the distance, the South Terrace (with Pergola below) appears finished.
Stable Complex, 1894
East Façade looking west, 1894 This photo reveals considerable activity on the Esplanade, perhaps due to the deadline for finishing Biltmore House by the end of the following year. The Library and the Bachelors’ Wing appear nearly complete, but much work still needs to be done on the Main Entrance, Grand Staircase, and the main roof running down the center of the structure.
Construction on the east elevation of Biltmore House, including Staircase Tower, 1894
East Façade looking west, December 15, 1894 Biltmore House is nearing completion. The left side of the Esplanade has been cleared and graded, and excavation of the central fountain has begun. The stone carvers remain busy, however, finishing the ornamentation on the exterior walls of the Grand Staircase.
In celebration of the April 1898 engagement of George Vanderbilt and Edith Stuyvesant Dresser, we ask an important question: what would you wear for a portrait commemorating your engagement to America’s most eligible bachelor?
For Edith, the choice was a beautiful blue velvet gown—the perfect backdrop for a diamond and ruby brooch she received from her fiancé as an engagement gift.
During the exhibition A Vanderbilt House Party – The Gilded Age, see not only a stunning re-creation of Edith’s gown, but also a replica of her exquisite brooch—part of a set of jewelry that also included a tiara and necklace.
The groom-to-be also appears in the Tapestry Gallery of Biltmore House, stylishly attired in a formal evening suit befitting the man labeled “Cupid’s richest captive” in newspapers around the country. Vanderbilt’s engagement was a hot topic for the papers; in the U.S. alone, more than 60 articles were published about his forthcoming wedding.
While George Vanderbilt drew much public interest, his bride-to-be was mostly unknown outside New York and Newport society. So how did this relationship blossom?
It’s likely the couple met through George’s match-making relatives. Edith—a decade younger than her future husband—was friends with several of his sisters and nieces. She and her sisters were living in Paris after the death of their parents and grandparents, and it was in Paris and London where Edith and George renewed their acquaintance and embarked on a transatlantic courtship.
The news of the engagement was welcomed by friends, including the author Paul Leicester Ford, who wrote to George: “My dear George, I am very glad. Marriage is quite good enough for you, and is one of the few really fine things you haven’t had in your life. I wish I knew Miss Dresser better, but the mere glimpse I had of her was enough to make me like her, and time will perhaps fulfill my wish. That you both have my every felicitation, and hope for your happiness, need not be said…..It is a pleasure to me to think of you as having this great happiness added to your life. But in the big love, save a little if you can, for your affectionate friend Paul.”
Chauncey M. Depew, who served as New York Secretary of State and president of the New York Central Railway, was a family friend who had known George Vanderbilt all his life. On May 13, 1898, he wrote: “My Dear George, Accept my cordial congratulations on your engagement. Possessing as you do every thing to make a happy home, and Miss Dresser so charmingly forming the complement. Surely the future is (illegible) secure for married life as the fates have arranged it for you… Faithfully yours, Chauncey M. Depew”
Just three months after their engagement was announced, Edith Stuyvesant Dresser and George Vanderbilt wed in Paris with family and close friends attending. After an extended European honeymoon, the newlyweds arrived at Biltmore in October 1898, and Edith Vanderbilt began a new role as hostess of Biltmore.
Main image: Re-creation of Edith Stuyvesant Dresser‘s engagement gown by Cosprop Ltd. of London, shown with George Vanderbilt evening clothing from the Cosprop collection.
We hope you enjoy this archived content. A Vanderbilt House Party – The Gilded Age was a special exhibition hosted in 2019.
The Banquet Hall table in Biltmore House has been set for dinner. Won’t you join us?
For the first time in many years, the 40-foot-long table in the Banquet Hall was set with its full Gilded-Age finery, as it was when George and Edith Vanderbilt entertained their guests in Biltmore House.
Ready, set, eat!
Set for our special 2019 exhibition, A Vanderbilt House Party – The Gilded Age, the table was adorned with the Vanderbilt family’s stunning Baccarat crystal, monogrammed Spode china, silver, candelabra, and linen damask napkins. Sumptuous and elaborate floral designs filled the table, assembled in multi-tiered silver pieces.
“Dinner at the turn of the last century was an important form of social interaction,” said Darren Poupore, Biltmore’s chief curator. “A dinner party was an opportunity to see and be seen and to practice the art of conversation. Dining etiquette had become formalized to the highest degree, with strict rules that dictated elegant manners and proper behavior.”
During A Vanderbilt House Party, the table was set for a seven-course meal for 18 guests based on an actual meal served in the great hall in 1904.
A single place setting for one person contained 18 pieces, with a place card displaying the guest’s name written by hand.
Add to that salt cellars, salt spoons, multiple serving trays, and bread baskets.
Depending on the number of food courses, a guest would sit down at the dinner table and see as many as 40 pieces of porcelain, crystal, and silver that he/she would use throughout the various courses of the meal.
Banquet Hall Table settings
1 dinner plate
4 forks – 1 each for the entrée, roast, fish and game courses
3 knives – 1 each for the entrée, roast and fish courses
1 soup spoon
6 glasses – one each for sherry, claret, champagne, burgundy, a hock glass, and a tumbler for water
1 napkin
1 piece of bread inside the napkin
1 place card
Also on the table:
8 salt cellars
8 salt spoons
4 salvers (serving tray)
5 tazzas (serving dish with pedestal)
9 baskets
4 candelabra
1 tablecloth
1 epergne (tiered serving piece)
Guests would linger for hours over dinner and engage in conversation. Each received an assigned seat, as arranged by Mrs. Vanderbilt earlier in the day.
Our archives tell us she always placed Mr. Vanderbilt and herself at the center of the table opposite of each other. She would seat the male and female guests of honor to the right of the host and hostess.
Making sure to follow proper etiquette of alternating ladies and gentlemen, she then seated the rest of the party.
Ready to spice up your wine selections with unique varietals?
From classic favorites to special blends, Biltmore handcrafts a wide range of award-winning wines.
Savor award-winning Biltmore wines
Chardonnay and Cabernet Sauvignon tend to be the best-selling white and red varietals around the world—and we create excellent versions of each at our estate winery—but what lies beyond these household names?
Let’s take a look at some of the more unique varietals we offer.
Viognier
Although its roots are firmly planted in southern France, this white varietal is now grown around the globe—as long as the climate offers warm weather for growing and cool nights to protect Viognier’s moderate acidity.
Our new Biltmore Estate Albariño makes any occasion seem special!
“As soon as you uncork our Viognier, you can almost imagine that it’s a delicate perfume,” said Jill Whitfield, senior marketing manager for Biltmore Wines. “It offers top notes of tangerine, peach, and honeysuckle.”
Based on variables ranging from theterroirof a vineyard to production and aging, Viognier can be lighter with more hints of fruits and flowers, or deeper and creamier with flavors of vanilla and spice.
“Viognier offers a definite aromatic sweetness,” Jill said, “but don’t be fooled into thinking it’s a sweet wine. Our Biltmore Reserve Viognier 2018, handcrafted from North Carolina-grown grapes, adds a bright twist of white pepper to its overall bouquet. Good balance and acidity make it an excellent choice with seafood.”
Tempranillo
Tempranillo is a great way to spice up your wine selections
Most of the world’s Tempranillo is grown in Spain where it is believed to have originated, but this earthy red wine is rapidly gaining a following around the globe.
“Tempranillo has a lot of personality,” said Jill. “Ours is full-bodied and fruit-forward with earthy aromas, rich dried fig flavors, and lingering tannins—just what you’d expect in a classic barrel-aged version.”
“When I discover exceptional grapes from one of our west coast growers, it inspires me to create distinctive wines for our Limited Release series,” Sharon said. “It’s usually a smaller amount of fruit, and that gives my production team an opportunity to really bring out the qualities of the varietal.”
Because of its fuller body and savory qualities, our Limited Release Tempranillo is a hearty match for beef, lamb curry, and pork.
It was recently rated “Exceptional” and awarded 91 points and a gold medal by Tastings.com, an online publication of the Beverage Testing Institute.
Chenin Blanc
Pack plenty of Limited Release Semillon for your next summer picnic!
One of our guests’ favorites and a best-seller at Biltmore’s Winery, Chenin Blanc is a versatile white wine that can range from lightly sweet to quite dry, depending on the vintage and the style of winemaking.
“We handcraft our Chenin Blanc in two different styles,” said Jill. “OurBiltmore Estate Limited Release Chenin Blancreflects the sweetness of the grape, which is very popular in the Winery’s Tasting Room. With floral aromas and a lingering sweet finish, guests can easily imagine sipping at home on a warm evening.”
Although our Biltmore Estate Chenin Blanc also features the classic floral aromas you’d expect in this varietal, it’s a bit more crisp than the Limited Release version and offers flavors of wild strawberry and bright hints of lime.
“Both styles are delicious,” noted Jill, “and I call them my ‘secret weapons’ when it comes to pairing wine with sweet-and-sour dishes and Asian cuisine! Those are not easy flavors to complement, but our Chenin Blanc and our Limited Release Chenin Blanc have enough acidity and sweetness to make it work.”
Enjoy Biltmore wine on the estate and at home.
Enjoy Biltmore wines at home
Whether you stick to your favorites or explore any of our unique varietals, you can stock up on our award-winning wines close to home through our Retailer Locator or shop online.
To be invited to dinner with the Vanderbilts was to experience an elaborate, ceremonious affair. Amid their evening parties and celebrations, dinner in the Banquet Hall was often the highlight of a stay at Biltmore.
Let’s take a look at a few things to note as a guest at the Vanderbilts’ table around the turn of the century.
Even the dining linens used at Biltmore House were of the highest quality available.
5. Linens
Every detail of the Vanderbilt dining experience was of the highest quality—even down to the linens. An early inventory in Biltmore’s archives notes 1,139 linen napkins and 111 linen tablecloths in the collection. All of the linens were handmade and most were monogrammed by the famous needleworker Madame Dufoir in Paris, France.
Archival seating chart dated Saturday, November 26, 1898
4. Seating
Dinner customs of the era required seating assignments for formal meals. These assignments were often identified using name cards at each place setting and it was not uncommon for seating records to be kept. Edith Vanderbilt kept such records. Above is a seating diagram she created for a large dinner with the Vanderbilts just before the turn of the century.
Extravagant meals required equally extravagant place settings.
3. Place Settings
Whether for grand banquets or intimate family meals, the Vanderbilts’ head butler and his staff spared no finery in setting the Banquet Hall table. Spread with more than 40 pieces of delicate porcelain, exquisite silver, and sparkling crystal per guest, the table attested to the grandeur of America’s Gilded Age.
Dining attire recreations based off images from our archives
2. Attire
Dinner with the Vanderbilts was an elaborate and ceremonious affair—and as such, the event required some of the most extravagant attire of the era. Women’s dresses were made of luxurious silks and satins, adorned with their finest jewels. Men wore white tie, which is more formal than a modern tuxedo, and of course, everything had to be spotless.
Biltmore’s archival menu book dated Saturday, November 12, 1904
1. The Dinner Itself
Often the highlight of a stay at Biltmore, dinner featured between six and ten courses, including soup, fish, entrée, roast or relevé, game and salad, dessert, and coffee to aid digestion. Meals included a combination of store-bought delicacies and the home-grown bounty of estate farms. Dinner also featured as many as five different wine pairings—illustrating George Vanderbilt’s interest in fine wines.
Learn More about Dinner with the Vanderbilts
Like many events at Biltmore, dinner with the Vanderbilts was an experience in and of itself. We invite you to learn more about Biltmore House during the Vanderbilts’ era with our behind-the-scenes tours.
Sip a glass full of spring with us
