Explore Our Favorite Outdoor Rooms Posted on April 1, 2016 at 12:00 am.Written by Jean Sexton Every season offers a wonderful reason to explore our favorite outdoor rooms at Biltmore, but summer is an especially perfect time to do so. Frederick Law Olmsted Known as the “father of American landscape architecture,” Frederick Law Olmsted had definitive ideas about landscape design. You can see many of his innovative ideas in New York City’s Central Park and here at Biltmore, which was his last professional project before his death in 1903. Enjoy the outdoors, by design The Approach Road, which Olmsted designed to achieve a “sensation passing through the remote depths of a deep forest,” only to have “the view of the Residence, with its orderly dependencies, to break suddenly, fully upon one.” Photo credit: The Biltmore Company. For the magnificent estates he landscaped, Olmsted preferred longer-than-usual approach drives and separate garden spaces or “outdoor rooms” that were distinct from one another with no blending of styles. The methods Olmsted used for creating special spaces are very noticeable in spring and when the gardens and grounds begin to bloom with color. Explore our favorite outdoor rooms When Biltmore employees were asked to share their favorite outdoor rooms around the estate, their answers were a tribute to all that Olmsted envisioned to enchant the Vanderbilts and their guests more than a century ago. Italian Garden The Italian Garden is spectacular in summer Parker Andes, Director of Horticulture, has a favorite spot tucked away in the Italian Garden. “There’s a terra cotta cherub fountain in the last little turf area near the end of the garden,” said Parker. “Most people miss this treasure because they don’t walk all the way down there.” Spring Garden Some of the earliest blooms at Biltmore appear in the sheltered Spring Garden Cathy Barnhardt, former Floral Displays Manager for Biltmore, is now retired and enjoying the estate as an Annual Passholder. “The Spring Garden is like a little valley that opens up off the beaten path. The grass gets green there first and flowers bloom early,” said Cathy. “It’s a great place to spend time with your family.” Azalea Garden Guests of all ages love discovering Biltmore’s “outdoor rooms” like the Azalea Garden Another special location mentioned by several staff members is a bench at the top of the Spring Garden. From this vantage point, you can look down into the Azalea Garden and also have a view of the distant mountains. Another not-to-be-missed favorite outdoor room is the Azalea Garden with all its varieties, colors, and sweet fragrances of azalea to enjoy. Stone steps in the Azalea Garden invite further exploration “Although the Azalea Garden wasn’t part of Olmsted’s original plan, it makes perfect use of a wooded space,” noted Parker. “The blooms are spectacular in late spring, so be sure to take time to walk down the stone steps—another technique Olmsted used to divide outdoor rooms—and stroll down the path there, noticing the stream lined with wild flowers and unusual conifers.” Bass Pond Boat House The view of the Bass Pond from the Boat House is worth the walk! Below the Azalea Garden, Hope Wright of A Gardener’s Place–one of the charming shops on the estate–loves walking down the path to the Bass Pond. “I stop on the bridge going toward the Boat House and sit on the bench,” Hope said. “This is a favorite spot of mine in the spring and summer as I look back upon the stunning beauty I have just witnessed.” Plan your getaway today! Explore our glorious gardens and grounds all year long! Ready to explore our favorite outdoor rooms and discover which ones you like best? Consider becoming an Annual Passholder so you can return and discover something new in every season.
Discover our Wedgewood Bedding Collection Posted on March 11, 2016 at 12:00 am.Written by Karina Hux No other brand in the world enchants and delights like Biltmore. It’s a timeless way of life inspired by George and Edith Vanderbilt’s vision of gracious living and hospitality. Grounded in beauty and refinement, the spirit of Biltmore is captured in every stylish detail and exquisite element of the products our partners produce. The Breakfast Room is a wonderful example of inspiration. From its richly-textured leather wall coverings and silk cut-velvet fabrics to the bright colors of the two Renoir paintings displayed on the walls, the room envelopes guests in a warm, intimate setting full of rich details. It is the fireplace-surround, however, that connected beautifully to our Wedgewood Bedding Collection. Although we have few archival notes on the origin of the surround or its installation at Biltmore, the delicate blue and white tiles are late 19th century jasperware, which is a type of colored stoneware to which a relief decoration—usually white—is applied. The surround in the Breakfast Room is after the style of legendary British potter Josiah Wedgwood. Inspired by the soft wedgewood blue-color hues in these jasperware-style tiles, our gorgeous woven jacquard Wedgewood Bedding brings a classic note to your bedroom with hints of color that harmonize with existing décor. Enjoy this refined bedding ensemble complete with a tasteful collection of coordinating decorative pillows and beautiful window treatments.
Wedding Dress Silhouettes Through the Years Posted on March 7, 2016 at 12:00 am.Written by Karina Hux For many brides, their wedding dress is the most poignant symbol of their marriage, woven with symbolism and tradition as well as fashion and style. During the Fashionable Romance: Wedding Gowns in Film exhibition, we are thrilled to offer our guests a glimpse into bridal fashion spanning the 1700s to 1930s, showing how historic trends still influence today’s brides. All of the costumes seen in Fashionable Romance were designed and made for the screen, but still adhere closely to the period they represent. Each was designed by Cosprop, a well-known design house that prides itself on authenticity, accuracy, and detail in recreating exquisite costumes. From dramatic full skirts of the 1700s, to sleek and slim fashion silhouettes of the 1930s, the gowns exhibited in Biltmore House tell a story of evolving styles and tastes. One of the most intricate gowns displayed is the dress worn by Keira Knightley as Georgiana Cavendish in the 2008 film, The Duchess; designer Michael O’Connor won an Academy Award for Best Costume Design for his work in the film. This dress is an excellent illustration of a formal dress in 1700, with a wide silhouette and full skirt held out horizontally by panniers or hooped petticoats. In this film, the Duke of Devonshire is seen cutting the wedding dress from his new Duchess, which is accurate for this era, as many brides would be sewn into their dresses. Well into the 1800s, the average women’s wedding dress was simply her best dress and it wasn’t until later that the white wedding dress became standard fare. During this time, dress silhouettes became slimmer and empire waistlines were popular. The gowns worn by the Dashwood sisters in the 1995 film, Sense and Sensibility are very different yet accurate to each woman’s status. Emma Thompson, playing Elinor Dashwood, wears a simple muslin dress and crushed velvet spencer jacket in her marriage to the refined but poor minister, Edward Ferrars, played by Hugh Grant. It’s a clear contrast to her sister’s marriage into wealth, in which Kate Winslet as Marianne Dashwood wears a detailed beaded gown with a full length petticoat. In the late 1800s and early 1900s, small waists were the desired look; to achieve this, corsets were commonly worn to draw in the stomach paired with frills on the bodice. High necklines and collars were popular, as represented by the gown from the 1996 Hamlet worn by Julie Christie, displayed in Mrs. Vanderbilt’s Bedroom. Brides during this period also favored veiled hats and long trains—styles that are beginning to resurface in today’s bridal fashions.
Tussie Mussies and the Victorian Language of Flowers Posted on February 29, 2016 at 12:00 am.Written by Danielle Withrow When is a flower more than just a flower? When it’s a hidden message of strong emotion. In Victorian times, social customs dictated discretion above all else, so declarations of love or other strong feelings had to be coded. One way to do so was through floriography or the language of flowers. The concept wasn’t invented in the 19th century. In ancient Greece, flowers were assigned meaning and the symbolism carried forth into the harems of Turkey. The Elizabethans picked up on the practice, using the names of flowers in poetry to signify unutterable thought. But it was the Victorians who fully embraced the language of flowers, to the extent that numerous dictionaries explaining the language were published. During Queen Victoria’s reign (1837-1901), it became fashionable to carry a small nosegay or tussie mussie as an accessory: a flower was considered a more modest adornment than jewelry for a young woman. A tussie mussie was sometimes tied with a ribbon, but could also be carried in a cone-shaped, decorative silver holder, still used today for some bridesmaid bouquets. It wasn’t just women who donned flowers, though. Men took to wearing flowers in the buttonholes of everyday coats and jackets, not just for special occasions. To send a message in the language of flowers, a bouquet or boutonniere would be exchanged. A combination of flower, foliage, or herbs could spell out a whole sentiment. Bouquets expressed not just love, but also friendship or familial connection. The American cowslip was the flower of divine beauty, while the acacia was a flower of friendship. Roses were a complicated matter. While today a rose is all about romance, in Victorian times there were nuances to it. Red roses unmistakably meant romantic love, but a white rose, for example, meant “I am worthy of you.” But there were also flowers that had less-than-cheerful meanings, such as ridicule, rebuff, coolness, and coquetry. The yew, for example, was the flower of sorrow. An almond flower would not have been a welcome gift: it meant stupidity and indiscretion. Messages could be customized. If the leaves were left on a flower, for example, the message was in the affirmative; if they were taken off, an opposite meaning was intended. Even the manner in which a bouquet was received had meaning: a right-handed exchange was a yes; a left-handed one, a no. Definitions of flower meanings weren’t always consistent. One flower whose meaning never varied, though, was the stephanotis, the flower of “wedded bliss.” The flower became a popular feature of wedding bouquets and remains so today.
Poultry in Motion: Biltmore’s Feathered Friends Posted on February 19, 2016 at 12:00 am.Written by Kristina Smith Chickens, turkeys, and other fowl have been strutting and clucking their way across the estate since its earliest days. Biltmore’s two original poultry sheds proved too limited, so in 1896, plans began for what would become the Poultry Yards, located up the hill from what’s now the Farm and Bike Barn. Richard Howland Hunt, son of Richard Morris Hunt, designed the Poultry Yards, which included the Brooder House, plus the Chicken Tender’s House: the residence for the poultryman and his family. A variety of breeds were raised at Biltmore, including Brahmas, Cochins, Cornish game hens, Leghorns, Minorcas, Plymouth Rocks, and Wyandottes. In addition to chickens, ducks and drakes, Bronze turkey toms and hens, wild turkey, quail, squab, and pheasant were found on the estate. Photo courtesy of National Forests of North Carolina Historic Photographs, D.H. Ramsey Library, Special Collections, University of North Carolina at Asheville, 28804. From the start, Biltmore Farms produced award-winning poultry used for eggs as well as meat. In May of 1897, an advertisement in the Asheville Citizen announced the sale of dressed Biltmore broilers at 30 cents each, table eggs at 15 cents a dozen, and “dated and extra selected” eggs at 25 cents a dozen. By the end of that same year, enough eggs were being produced to supply the Kenilworth Inn with eight to 15 dozen a day as well as provide for the needs of Biltmore House. When the Vanderbilts were in residence and entertaining guests, demand for eggs skyrocketed. According to a June 8, 1896 memo, Biltmore House required nearly 30 dozen eggs a week. Poultry and eggs were served almost daily according to the 1904 Menu Book for Biltmore House. Luncheons and dinners often began with chicken broth or consommé. For second luncheon, eggs were served stuffed, creamed, and fried, and included in cutlets, omelets, timbales and croquettes. Chickens were prepared broiled, roasted, fricasseed, fried, creamed, braised, and in casseroles, potpies and mousse. Other poultry dishes included roast and barbequed duck, braised quail and squab, and roast partridge and goose. Leftover poultry frequently went into salads. If the 1904 Menu Book is any indication, the poultry most frequently served in Biltmore House was turkey. The Vanderbilts ate roast turkey with cranberry sauce, roast Biltmore turkey, broiled spring turkey, roast wild turkey, turkey soup and croquettes, creamed turkey, chipped turkey and cold turkey in salad. In fact, they ate turkey in one form or another 35 times during one span of 14 weeks, or on average every three days. A recipe for turkey and cornbread dressing was said to be one of Mr. Vanderbilt’s favorite foods. The Poultry Farm closed down not long after Mr. Vanderbilt’s death in 1914, but the buildings continued to be used for other purposes. The original Chicken Tender’s House functioned as a residence until it burned in 1931. The Brooder House still stands behind the Inn on Biltmore Estate and can be seen on the Legacy of the Land tour. Chicken remain a vital part of our farm-to-table program. In the past twelve months, Biltmore’s mostly brown egg-laying flocks (which include heirloom and historic Vanderbilt breeds) have produced 16,080 eggs. All of Biltmore’s egg layers are free range and are part of our intensive grazing rotation. The eggs are laid, collected, handled and packaged here and never leave the estate. All eggs are processed and incubated in the historic Brooder House. Look for our mobile chicken coops in the fields near the Farm, one of the creative measures our farmers put in place to promote sustainable agriculture on the estate.
Solving a Mystery in the Kitchen Pantry Posted on February 19, 2016 at 12:00 am.Written by Jean Sexton Solving a mystery in the Kitchen Pantry at Biltmore took some detective work, but our Museum Services staff finally cracked the case! “Among the many place settings of china in the Biltmore collection, one set had remained a mystery for many years,” said Lori Garst, Curatorial Assistant. A cup, saucer, and plate from the collection of unidentified china While the set was often referred to as “the Christmas china” because it was used during a 1931 holiday party, or “the employee china” because it was later used by staff members, the origin of the china—and its original purpose in Biltmore House—remained unclear. George Vanderbilt’s elegant white china with burgundy and gold trim. It was manufactured by Minton and Spode-Copeland, and used for everyday occasions. “Most of the china in Biltmore House was chosen by George Vanderbilt,” Lori said. “He selected an elegant white china with a burgundy and gold pattern, manufactured by both Minton and Spode-Copeland. It features his monogram and was used every day for family and guest meals.” Cornelia Vanderbilt’s china matches her father’s pattern but includes her own CSV monogram. While Cornelia Vanderbilt’s china closely matches the pattern her father selected for use in Biltmore House, their monograms distinguish one set from another “We know that Edith Vanderbilt ordered Cornelia’s china in 1923,” said Lori. “And Mrs. Vanderbilt requested that Cornelia’s monogram be in the same style as her father’s. I think it is sweet that her service blended in with the style her father had chosen.” But what of the mysterious china collection on the shelves of the Kitchen Pantry in the Basement? Museum Services began to look for clues about its history. While not as fine as the monogrammed Vanderbilt china, the gold-trimmed white pattern rimmed in crisp navy was definitely elegant and the amount of it suggested it had been purchased with a large number of people in mind. Trimmed in gold and rimmed in navy, this china is elegant, but more sturdy than the monogrammed family china in the collection “We began with the manufacturer’s mark on the bottom of each piece,” said Lori. “Kniffen & Demarest Co. manufactured hotel and steam ship supplies, so the china was well-made and rather sturdy to stand up to use by guests and passengers in public settings.” A conservator shows the Kniffen & Demarest Co. name on a piece of the so-called mystery china While Museum Services was researching details for our Fashionable Romance: Wedding Gowns in Film exhibition, they finally discovered written references to the china in conjunction with Cornelia Vanderbilt Cecil’s wedding. “This set was also sometimes referred to as ‘the wedding china,’ but we never knew which of its three names was correct until recently,” said Lori. “The pieces came together at last, and we realized that this was the china that had been ordered for the buffet at Cornelia Vanderbilt and John Cecil’s wedding breakfast.” After the ceremony at All Souls Church in Biltmore Village, the wedding guests and additional reception guests (500 people were invited to the ceremony and reception; another 2500 were invited only to the reception) arrived at Biltmore House. John and Cornelia Cecil and their attendants at the wedding breakfast in the Winter Garden of Biltmore House The newlyweds and their attendants were served at a table in the Winter Garden, and all the other guests enjoyed a buffet in the Banquet Hall, which featured this china. As the years passed, the Kniffen & Demarest china was still used, but its original purpose was forgotten. Today, it’s stored in the Kitchen Pantry where it receives the same care and attention as all the other china in Biltmore’s collection. Enjoy your own Vanderbilt china service Porcelain tea set from the Vanderbilt Service Whether you prefer a tea service or an entire place setting, this beautiful porcelain serveware is based on a Sevres pattern, circa 1888, that the Vanderbilt family once used at Biltmore. The original is on display in the Oak Sitting Room, but you can now enjoy the reproduction set in your own home.
Fashionable Florals Posted on February 5, 2016 at 12:00 am.Written by Kristina Smith Flowers are as much a part of a wedding celebration as the music or the cake. So when plans began for our Fashionable Romance: Wedding Gowns in Film exhibition, our Floral Design team got right to work coming up with inspiring designs to set the tone for this delightful affair. The exhibition includes costumes from 19 films, spanning hundreds of years and far-flung locations starting in 18th-century England and stretching into 1930s Germany. Using the costumes and the rooms where they’ll be located as a starting point, the designers began sketches. The Entry Hall sets the tone for the exhibition with a dramatic four-tier floral cake under fabric swags lit from the inside with party lights. A floral chandelier in shades of pink dripping with crystal pendants hangs above it. Molly Reed created the design, which includes the 6.5 x 3’-cake form (seen below, in progress) decorated with 450 roses and 150 lilies, both silk and fresh, surrounded by fresh arrangements. In the Banquet Hall, costumes from the 2005 film version of Pride and Prejudice called for a loose, English country garden look. A flower dangles from each of the three “love knots” in the ribbons hanging from the room’s two chandeliers, a nod to Regency and Victorian tradition. The three knots represent the three words “I love you,” says Cristy Leonard who designed the room’s florals. Cornelia Vanderbilt had these knots in her bouquet at her 1924 wedding to the Honorable John F.A. Cecil. In the Music Room, designer Kyla Dana came up with the lush look for the florals accompanying the costumes from the 1988 film The Deceivers, set in early 19th-century British India. Dana used the film’s setting as inspiration for her lush design, featuring silk marigolds—a traditional Indian wedding flower—and purple bougainvillea. A wedding dress worn by Helena Bonham-Carter in the 1994 film Mary Shelley’s Frankenstein is on display in the Library. The theme here is silk roses, mostly in deep red with touches of hot pink. Eight heart-shaped medallions will be affixed to the balcony railings, referencing not only the film’s wedding but one of the more dramatic scenes. In total, there will be around 700 roses in the room. But the Fashionable Romance exhibition extends beyond Biltmore House. The Biltmore Legacy in Antler Hill Village has been transformed into a stylish gallery featuring stories and objects from Vanderbilt family weddings. While there are no photos of George and Edith Vanderbilt’s wedding, photos allowed designers to re-create both Cornelia Vanderbilt’s dress and bouquet. Designer Lucinda Ledford recreated the stephanotis bouquet held by Mary Lee Ryan at her wedding to Cornelia’s son William A.V. Cecil in 1957, seen below in progress. Biltmore Floral Department manager Cathy Barnhardt estimates that there will be approximately 3,200 fresh and faux roses in the planned displays throughout the exhibition, with around 1,500 fresh flowers being replaced each week. As you walk through the exhibit, be sure to pay attention to the lovingly designed florals, which add charm and beauty to the exquisite costume displays.
A transatlantic collaboration: Recreating a Vanderbilt family heirloom Posted on February 2, 2016 at 12:00 am.Written by Kristina Smith Biltmore’s Curator of Interpretation Leslie Klingner was anticipating the arrival of a special delivery when we met recently to talk with her about a unique collaboration that would result in the re-creation of a Vanderbilt family heirloom. Due in the very next day from England was the result of that collaboration: a replica of the wedding gown and veil Cornelia Vanderbilt wore in her 1924 wedding to John Frances Amherst Cecil. The gown is part of our new exhibition opening on Feb. 12, “Fashionable Romance: Wedding Gowns in Film.” Because the new exhibition contains a section devoted to wedding stories about the Vanderbilt and Cecil families, Leslie and team decided to have the ensemble recreated for our guests to enjoy. The original gown and veil are not in Biltmore’s archival collection, yet many photographs exist of Cornelia in the dress including one of her standing on the Grand Staircase in Biltmore House. Leslie and members of Biltmore’s Museum Services Team joined forces with John Bright and his team at London-based Cosprop, Ltd., a respected costumier to film, television and theater. Biltmore has enjoyed a friendship with Bright and his company since working together on bringing their costumes from “Downton Abbey” to Biltmore for an exhibition in 2015. And of course, Bright’s team is responsible for creating the gorgeous film costumes to be featured in “Fashionable Romance.” Leslie, staff archivist Jill Hawkins, and curator Lori Garst set about scouring the archives for every photo of Cornelia in her wedding gown they could find. They gathered newspaper clippings about the wedding and descriptions of her dress. They made copies of the material, packed it all up and sent it overseas to Bright. (Back in 1924, news of Cornelia Vanderbilt’s wedding was akin to coverage of what a modern-day celebrity receives when getting married.) With all of that information, Bright’s team would create a straight satin foundation with long sleeves and a shortened hemline; and an antique lace stole that forms the lace outer layer of the dress. They would also make Cornelia’s dramatic voluminous veil and its lengthy train. “The silhouette of the dress was very elegant and its unique structure was more common in the 1920s. It’s modern, and closely cut with an undersheath made from very luxe materials. The draping and length were very much in keeping with the changing fashion of the Jazz Age,” Leslie said. Before any sewing took place, the teams spent many hours planning by conference call. Fabric and lace samples traveled between Asheville and London. In all, the planning process took one year. Actual construction of the dress took a five-person team at Cosprop seven weeks. Lessons in ingenuity That an ocean was between the two teams was but a small technicality in recreating Cornelia’s dress. Issues more challenging presented themselves along the way: Cornelia’s exact measurements were unknown. Leslie and team employed their research skills and came up with a composite for Bright. They knew she was tall, and her 1922 passport application confirmed that she was about 5 feet 10 inches tall. For the remaining crucial details, Biltmore Conservator Anne Battram measured one of the few pieces of Cornelia’s clothing in the archives: her French Renaissance page costume she wore during her 21st birthday masquerade party in 1921. Textiles used in the original dress are no longer made. Despite the absence of the same satin weave fabric used for the sheath of the dress, Bright knew where he could find the closest thing that would match the lustrous sheen of Cornelia’s gown. “He did a fabulous job,” Leslie says. The silk tulle required to create the veil’s volume is no longer available in the original width. Bright is an Oscar-winning costumer designer, so his expertise and experience informed his ability to take the widest silk tulle available and work with it to create the right proportions. The silk tulle is ethereal and light making it subject to wilting in humid conditions. To ensure the veil remains as airy and voluminous as it was on Cornelia’s wedding day for the duration of the exhibition, Bright added a layer of nylon tulle underneath to help maintain the body of the fabric. The dress indeed arrived the day after our talk with Leslie. We checked back in with her about the results. “We are absolutely ecstatic with the outcome,” says Leslie. “This was a complex project, particularly since many of materials were antique originally and impossible to source, so we knew we would never be able to create a perfect facsimile. But, John Bright and Cosprop created an astounding likeness of the gown – down to the orange blossoms on Cornelia’s veil.” You can see the dress for yourself when “Fashionable Romance: Wedding Gowns in Film” opens Feb. 12. Featured image: John Bright and his team at Cosprop, Ltd. in London worked from archival photography and newspaper accounts of Cornelia Vanderbilt’s 1924 wedding to John F.A. Cecil to replicate her gown for Biltmore’s new exhibition. Also featured: Biltmore’s Leslie Klingner compares lace and silk fabric samples sent to her in Asheville, N.C., from Bright in London.
And the Oscar goes to. . . Posted on January 11, 2016 at 12:00 am.Written by Karina Hux As time for the Academy Awards approaches, we are drawn to details that make Oscar-winning films so memorable—including the extraordinary costumes that bring cinematic characters to life. Our Fashionable Romance: Wedding Gowns in Film exhibition beginning February 12 gives you the opportunity to take a closer look at costumes from seven films nominated for an Academy Award in Costume Design—including two Oscar winners! Anthony Powell is an English costume designer and three-time Oscar winner; his interpretation of 19th-century attire for Tess was honored with the Academy Award in 1980. The wedding dress he created for Tess Durbyfield (played by Nastassja Kinski), is displayed in Biltmore’s Carriage House. Powell has been nominated for six Academy Awards; his other wins came for 1972’s Travels with My Aunt and 1978’s Death on the Nile. Another English costume designer—Michael O’Connor—won the Academy Award in 2008 for The Duchess, where he created 30 different gowns for Keira Knightley in her role as Georgiana Cavendish, the Duchess of Devonshire. The clothing styles reflected the Duchess’ celebrity status as the center of glamorous English society of the time, and range from the elaborate gown worn for her wedding to simpler dresses in later years; you can see examples of both styles exhibited in the Banquet Hall. O’Connor was also a nominee in 2011 for Jane Eyre and in 2013 for The Invisible Woman. The Fashionable Romance exhibition also includes costumes from five other films whose costume designers were nominated for Academy Awards in Costume Design: Out of Africa, 1985; designed by Milena Canonero, a nine-time nominee and four-time Oscar winner for Barry Lyndon, Chariots of Fire, Marie Antoinette, and The Grand Budapest Hotel Howard’s End, 1992 and Sense and Sensibility, 1995; designed by Jenny Beavan and John Bright, six-time nominees who won the Academy Award for A Room with A View Emma, 1996; designed by Ruth Myers, two-time nominee Hamlet, 1996: Alexandra Byrne, four-time nominee and Oscar winner for Elizabeth: The Golden Age Photos Top: Hayley Atwell as Lady Elizabeth Foster and Keira Knightley as Georgiana Cavendish, Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures. Left: Ralph Fiennes and Keira Knightley as the Duke and Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures. Right: Meryl Streep as Karen Blixen in Out of Africa. Copyright 1985 Universal Pictures Limited. Courtesy of Universal Studios Licensing LLC.
The Inn celebrates 15 years with new Biltmore furnishings Posted on January 5, 2016 at 12:00 am.Written by Karina Hux While crystal or watches may be traditional gifts for a 15-year anniversary, the Inn on Biltmore Estate decided to celebrate in a big way: installing new marble floors in the Lobby and new guest room furniture inspired by Biltmore House. Most of the guest rooms (181) now feature new furnishings from Fine Furniture’s Biltmore Collection. The focal point is the signature Panel Bed in Antler Hill finish inspired by a bed with a wrapped footboard in Biltmore House. Accompanying the bed are additional pieces from the collection including a dresser, night stand, mirrors, chairside table, desk, and chair. “It’s a real pleasure to refresh our guest rooms with furniture that represents the design and quality found in Biltmore House,” said Charles Thompson, Inn general manager. “Working with our licensed products team at Biltmore® For Your Home and their partner, Fine Furniture, has been an exciting process, and one that enable us to further extend the hospitality that George and Edith Vanderbilt created at Biltmore.” Each season, designers from Fine Furniture spend days visiting the estate, taking extensive notes and photos as they glean details from Biltmore House and Gardens to use as inspiration for future designs. For example, the Vestibule Tufted Chair and Ottoman in each guest room incorporates elements drawn from handcrafted leaded glass in the vestibule of Biltmore House, bringing a note of distinguished elegance to the room. The masculine Dressing Chest represents George Vanderbilt’s influence, with its details drawn from the wood and stonework molding trim found throughout the house. In addition to new furnishings, the Inn’s marble floor in the Lobby and other public areas was replaced with new marble sourced from Turkey. “This is part of our normal maintenance efforts to ensure that we keep a pristine appearance,” Charles said. “We chose to close down for two weeks instead of asking our guests to put up with construction equipment, noise, and dust. Now we look forward to welcoming guests back with new furnishings and floors.” Photos Top: The Inn's guest rooms are now set with an impressive bed and other carefully crafted furnishings from Fine Furniture's Biltmore Collection. Photo courtesy of Biltmore® For Your Home. Right: The Vestibule Chair and ottoman from Fine Furniture adds stylish comfort to 181 guest rooms at the Inn. Photo courtesy of Biltmore® For Your Home. View the Collection