George Vanderbilt and His Automobiles Posted on December 18, 2014 at 12:00 am.Written by Heather Angel Although Biltmore House was equipped with superb stables, the Vanderbilts did not rely solely on horses and carriages for transportation. Although horse-drawn carriages, ships, and trains were popular when George Vanderbilt was born in 1862, engineers and inventors were already experimenting with “horseless carriages” or automobiles. It wasn’t until the early 1900s that the Vanderbilts and their friends began to experience the convenience and speed of driving. George Vanderbilt was particularly fond of automobiles and collected them over the years. George (third from left) and Edith Vanderbilt (far left), friends, and chauffeur in Godesberg am Rhein, Germany, 1906. Road trips Biltmore archives show that George Vanderbilt became an avid fan of automobiles during a visit to Europe in 1903 when his good friend William (“Willie”) Bradhurst Osgood Field offered George and Edith Vanderbilt the use of his car and driver. Vanderbilt wrote Field: “I am so in love with this mode of travel that I mean to order an auto like yours when I get back to Paris, with the few improvements that have been made since. It makes travelling a different thing and simply a natural transition instead of an effort. We have decided to remain over here all winter and hope to do some more automobiling next summer…” (George Vanderbilt to William B. Osgood Field, William B. Osgood Field Papers, Manuscripts and Archives Division, Astor, Lenox and Tilden Foundations, New York Public Library, New York, New York.) In a subsequent letter, Vanderbilt again comments on his affection toward automobiles, saying, “We are still enchanted with auto and indebted to you.” North Carolina driver’s license for George W. Vanderbilt from 1913. His first car We aren’t certain what kind of vehicle Mr. Vanderbilt purchased in Paris during this time, but photographs suggest the vehicle may have been made by Panhard et Levassor–the most popular maker of automobiles in France in the early 1900s. As planned, the Vanderbilts remained in Europe for several more months. In 1904, George mentions a “delightful” three-week trip along the Spanish coast (notwithstanding a mechanical problem that delayed them for several days), several 2–3 day trips from their initial home base in Paris, a planned move to London allowing shorter road trips to visit cathedrals, and a six-week excursion throughout England, Scotland, and Wales. While the Vanderbilts would continue to enjoy “automobiling” in Europe during their frequent trips, they would not purchase an auto in America until January 1907. Why the delay? Perhaps it was because most American roads were typically in poor condition compared to European roads. But by the mid-1890s, Biltmore’s roads were nationally recognized as being of the quality needed throughout the country. In North Carolina, “Buncombe County…had accomplished more road improvements by 1914 than any other county in North Carolina,” and George Vanderbilt was given much of the credit. George Vanderbilt’s 1913 Stevens-Duryea Model C-Six, the only automobile remaining in the Biltmore collection. American automobiles In 1907, George Vanderbilt ordered a Stoddard-Dayton car delivered to his home in Washington, D.C. In 1911, he purchased a 1912 six-cylinder, six-passenger Model Y Stevens-Duryea for $4,000. Within a year, he traded the 1912 Stevens-Duryea for a 1913 Stevens-Duryea Model C-Six, which arrived in May 1913. Receipt for purchase of Stevens-Duryea car; sold to George Vanderbilt for $3096.90 in May, 1913. The Stevens-Duryea C-Six is the only vehicle that George Vanderbilt purchased remaining in the Biltmore collection and is today an extremely rare model, believed to be one of only 10 still in existence. It has been carefully conserved but not restored and is in private storage. Intriguing details of this vehicle include Edith Vanderbilt’s monogram hand-painted on the doors and the old-fashioned kerosene lamps that provided backup for the car’s newfangled electric headlights! Detail of parts and maintenance for Stevens-Duryea car. Learn more about the Vanderbilts’ travels at The Vanderbilts at Home and Abroad exhibition inside The Biltmore Legacy building in Antler Hill Village, which offers a fascinating glimpse into the lives of George and Edith Vanderbilt and their daughter Cornelia.
Whistler and Vanderbilt: an artist and his patron Posted on November 20, 2014 at 12:00 am.Written by Karina Hux George Vanderbilt was a knowledgeable art collector, acquiring both the classics—like tapestries from the 1500s—and works from contemporary artists of his time such as Renoir. For portraits of his family, he turned to one of the leading artists of the era: James McNeill Whistler. Best known today for the iconic portrait of his mother, Whistler (1834–1903) was an American-born artist who worked in Europe most of his life. No stranger to controversy, he was influenced by both the schools of realism and impressionism, later developing a unique symbolism in which the subjects of his paintings became less important than forms, colors, and mood. While we don’t know exactly when Vanderbilt and Whistler met, we do know they had mutual friends and it’s likely Vanderbilt was familiar the artist’s work in London and Paris. By 1897, the two men were acquainted enough that Vanderbilt requested Whistler paint his portrait. In May 1897, Vanderbilt wrote: “Yesterday when Sturges told me you were not in London I was greatly disappointed, both because I had looked forward to seeing you, venturing to hope for a Sunday afternoon visit to your studio, to make up for the visit I lost in March, and because I have a favor to ask of you. Is there a chance of your returning to London soon and if you do will you consider me a fit subject for a portrait? . . . I cannot begin to tell you how much I want an example of your great work. I revel at present in possessing your etchings but want an oil too. Hoping you will consider this favorably believe me with deep esteem your admirer.”* Whistler promptly agreed, stating: “I think I may frankly say that I would not ask for a more sympathetic subject than yourself and therefore am greatly pleased at the prospect of painting your portrait.” By the end of the year, the portrait was completed, with Whistler writing on December 30: “My dear Vanderbilt, Now that the great work is complete and I fancy you and I who have been so much in it may in our present enthusiasm say ‘great work!’. . . For my part I look upon this painting with real delight and am well pleased to be hereafter represented by it in my own country. And I am happy in believing that you too have in it complete enjoyment and satisfaction. You have been charming!” The two men remained friends, with their correspondence showing Vanderbilt admiring Whistler’s art and opinions equally. He also continued collecting Whistler’s works, commissioning a portrait of Edith Vanderbilt in 1898 that was completed in 1902 and purchasing the artist’s self-portrait. Over the years, Vanderbilt invited Whistler to Biltmore House repeatedly but Whistler never returned to the United States. When the artist died in July 1903, Vanderbilt was a pallbearer at the funeral. Edith Vanderbilt Gerry gifted two Whistler works in the Biltmore collection to the National Gallery of Art after her death—George Washington Vanderbilt and Gold and Brown: Self-Portrait. Her oval portrait remains on display in the Tapestry Gallery. *Vanderbilt to Whistler, London, England, May 18, 1897. Excerpted courtesy of Whistler Collection, Glasgow University Library.
Timeless Tradition Continues at Biltmore’s Employee Christmas Party Posted on November 11, 2014 at 12:00 am.Written by Karina Hux Although Christmas at Biltmore is our busiest season of the year, for one special night each November, Biltmore employees and their families gather to enjoy their own special Christmas evening amidst the twinkling lights and beautiful decorations adorning Biltmore House. The impressive décor is admired by all, but the child inside many of us would likely wonder, “What good is a 35-foot Christmas tree without equally grand amounts of gifts?” How our tradition began When George Vanderbilt opened Biltmore House to his family and friends on Christmas Eve 1895, guests were greeted in the Banquet Hall by a splendidly tall tree laden with gifts for estate workers. Although the wrapped packages under today's Banquet Hall tree are decorative rather than full of surprises, that doesn’t mean Biltmore has ended the Vanderbilt gift-giving tradition. During our staff Christmas party, all children 11 and younger receive a present chosen especially for their age range. The celebration continues Archival information from 1898 shows that Edith Vanderbilt quickly assumed an active role in estate Christmas preparations as soon as she and George returned from their honeymoon in October of that year. She began making lists of all employees' children, their ages, and choosing special gifts for each of them—more than 100 children in all! Today, Michaela Schmidlin, Entertainment and Event Programming Manager, oversees the process of choosing appropriate gifts for each age range. The toys are timeless, often requiring creativity rather than batteries to operate, and preference is given to North Carolina manufacturers. “It’s really neat to me that this tradition has remained year after year. We’ve modernized it a little with Excel spreadsheets and such, but otherwise, it hasn't changed that much. We give more than 300 gifts each year, and though they are more contemporary than the presents children would have received in the early 1900s, they always reflect the Vanderbilt spirit of warmth and generosity,” Michaela said. “A Vanderbilt Christmas” Each year, the estate is decorated according to a special theme that celebrates George Vanderbilt's love of the holiday season. “Not only did Mr. Vanderbilt provide very generous Christmas bonuses to employees, but can you imagine what this party meant to employees' children and families? Some people came from as far away as the Tennessee state line, and that was quite a trip—especially in horse and wagon days,” said Michaela. This delightful tradition is just one of the ways Biltmore honors Mr. Vanderbilt’s legacy today, and we are delighted to keep history alive each year at the annual Christmas party. Images — Featured image: A Biltmore family enjoys the annual staff Christmas party — First image: A family admires the Banquet Hall Christmas tree — Second image: Children of all ages enjoy Christmas at Biltmore — Third image: Biltmore employee Christmas party held at Antler Hall in 1916 (Edith Vanderbilt is right of center in a black hat; Cornelia Vanderbilt is on her left in a light-colored hat)
Behind Biltmore Poinsettias Posted on October 29, 2014 at 12:00 am.Written by Karina Hux The Winter Garden is known as one of Biltmore’s premier displays of holiday greenery during Christmas at Biltmore. Throughout the years, this room has hosted countless musicians, carolers, and even ballerinas during the holidays, all surrounded by the beauty of red, pink, and white poinsettias. In fact, nearly 100 poinsettias adorn this room alone, with grand total of 1,200 poinsettias decorating the estate through the season. From November 7 through January 11, the poinsettias are strategically placed, rotated, and replaced to provide the best color. However, many guests are surprised to find out just how complex these hearty plants are–and that for about half of these plants, their journey on the estate begins much earlier. “Each February, my crew and I decide what poinsettias we would like to have for the next year's displays,” says Conservatory Gardener Jordana Chalnick. “Last year we had a red poinsettia with white splotches for the front display; this year we will use a pink variegated poinsettia.” Once the varietals are determined, the poinsettias are grown from rooted cuttings inside Biltmore production greenhouses starting in July. What makes these plants unique is that they are a short-day photoperiod crop, meaning they naturally flower when the nights become longer than the days. Some varieties need to be covered with a black cloth, sheltering them from all light, to force them to bloom at the desired time. Jordana explains that timing is key. “We grow two crops of poinsettias for two target dates: November 2 and December 1. A shorter finish week means the plant will color earlier. This would be a variety we select for early November. A longer finish week means it will color later, and these are the varieties we select for December 1. Development is monitored to determine if we will need to cover them and if so, the plants are covered in the evening with a black cloth beginning in September for five to six weeks,” she says. Although Biltmore does not have the space or staff to grow all of the poinsettias used during the holidays, the remaining plants come from two growers in North Carolina. From propagating the poinsettia cuttings, to monitoring their light exposure, to placing and replacing each plant around the estate, our horticulture team does an excellent job year after year–just one of their many jobs during Christmas at Biltmore!
Our Christmas tree-toppers top them all! Posted on October 21, 2014 at 12:00 am.Written by Karina Hux When George Vanderbilt’s grandson inherited Biltmore House in 1960, the immense home had been open to the public for three decades. Each year, Biltmore House was closed December–March because there were so few visitors during the winter. A successful experiment After repeated requests from guests to see his family home decked for the holidays, William A.V. Cecil decided to keep Biltmore open and see what happened. What began as a modest experiment with a few decorated trees has grown enormously through the years to become Biltmore’s grandest season. The estate now welcomes approximately 250,000 visitors each year during this time period! The showpiece of Christmas at Biltmore is always the 35-foot fresh Fraser Fir tree that adorns the Banquet Hall. Once lighted and decorated, the big tree—grown especially for Biltmore at a family farm in Avery County—becomes a memorable part of the guest experience. Grand tree-toppers Adorning the top of such a grand tree, there must be an equally grand tree-topper. Each year, Biltmore’s floral team envisions and then creates a tree-topper in keeping with the Christmas theme, the size of the tree, and the immense scale of the Banquet Hall. “If we used an ordinary tree-topper,” said Cathy Barnhardt, Biltmore’s Floral Displays Manager, “it would be completely lost in that enormous space!” Each member of the Floral team is responsible for the design and execution of the decorative them in several areas in Biltmore House—usually one of the elegant rooms on the First Floor, plus another section on upper or lower floors—and the team member assigned to the Banquet Hall has a big job ahead of her! In 2011, Floral Designer Susan Partain created a beautiful Renaissance-style angel to top the big tree. From her fluttering wings to the rich fabric layers of her robe, Susan’s angel looked delicate, but had to be sturdy enough to survive a ride on the swaying tip of the tree as it was raised into position in the Banquet Hall. The angel passed the test with “flying colors!” Two years later, Simone Bush, Biltmore Floral Designer and Wedding Consultant, drew on the idea of families coming together at the holidays, and the wonderful, whimsical ways in which their joy might be expressed, to create a charming, light-hearted tree-topper beribboned like a jester’s staff, delighting everyone who saw it atop the towering tree. A new creation For 2014, the theme is a A Vanderbilt Christmas. According to Cathy, “This year’s tree topper is a three-dimensional gilded globe star that is about three feet tall. It reflects a traditional vintage theme with glitter, tinsel, and beading.” Be sure to look for the tree-topper as we raise the Banquet Hall tree on Wednesday, November 5, on your next visit during Christmas at Biltmore or Candlelight Christmas Evenings!
Welcoming Edith Vanderbilt to her new home Posted on October 13, 2014 at 12:00 am.Written by Stacie King Edith Stuyvesant Vanderbilt was just 25 years old when she arrived at Biltmore on October 1, 1898, following her marriage to George Washington Vanderbilt. The couple, who wed in Paris, enjoyed a three-month honeymoon in Europe before traveling to Asheville where Edith caught her first glimpse of her new home. Archival photograph of Biltmore Estate employees lining Approach Road to welcome the newlyweds. The arrival of the newlyweds was celebrated all around Biltmore; employees and their families lined estate roads to greet the Vanderbilts. Festivities continued into the night with fireworks and music in front of Biltmore House. The Asheville Daily Citizen reported that estate employees gathered at the arch, “…representatives from the agricultural departments of the estate were massed, each group bearing a device typical of their labor.” Dairy workers wore white suits and led Jersey calves by their halters, while employees of the Biltmore Nursery tossed flowers as the couple passed by in a carriage. Archival photograph of the floral arch constructed by estate employees to welcome home the newlyweds. It was a warm welcome as estate employees constructed this dramatic floral arch celebrating George and Edith Vanderbilt’s arrival at Biltmore on October 1, 1898, for the first time since their wedding.
Backyard chickens—in a 8,000-acre backyard! Posted on September 5, 2014 at 12:00 am.Written by Karina Hux Chicken farming in your backyard is growing in popularity around the country as more people get interested in heirloom breeds and fresh eggs. Biltmore also has its own backyard chicken farm, although we have a bit more space than most families! Visit the Farmyard in Antler Hill Village to see dozens of chickens, learn about their role in supplying our restaurants with eggs, and how they contribute to our educational programs. “We keep more than 500 chickens that lay hundreds of eggs each week. These fresh eggs partially fulfill our restaurants’ need for 250 dozen eggs a week—that’s a lot of eggs!” said Melonye Trivett, Director of Equestrian and Antler Hill Farm Programs. Chickens are not new to Biltmore; there were many different breeds raised here during the Vanderbilts’ time. Some of those same heirloom breeds, including Light Brahma and Barred Rock, roam our Farmyard and fields today, in addition to Rhode Island Reds, Wyandottes, and the odd-looking Transylvania Naked Necks. “The Naked Necks don’t have feathers around their necks, and we get many, many questions about them,” Melonye said. “Some people express concern but that’s really the way they look. They are very healthy and good egg layers.” The Farmyard houses everything from eggs to chicks to adult hens and roosters, enabling guests to understand more about chickens and their appeal. “We have chicks throughout the summer and into fall, and a few during the winter,” Melonye said. “We bring them from our Brooder House and place them in a bin so guests can hold them. Children and adults love to do this.” When you visit, you’re sure to see the head rooster or “yard bird,” a large Silver Laced Wyandotte rooster—one of 10–15 mature roosters in the flock. He frequently sits on a wine barrel at the entrance and allows children to pet him. He’s quite the celebrity, with some families visiting 3–4 times a week to see him and other animals in the Farmyard. Our Farmyard chickens graze freely in the pastures, and we rotate chickens to different pastures to assure they have an ample food supply of grass and insects. “Chickens are part of our intensive pasture rotation,” explained Melonye. “We use portable chicken coops called ‘chicken tractors’ that allow us to easily move the flock to different fields.” The portable hen houses were specifically designed to be self-sustaining. Rain is harvested from the roof into rain barrels to provide water for the chickens, while the mesh floor allows droppings to fall to the ground and fertilize the pasture. Inside the Farmyard’s chicken coop you can see dozens of colored eggs—reminiscent of an Easter egg basket—but these come by their colors naturally. Certain breeds lay specific colors; Amereucanas lay beautiful green and blue eggs; Leghorns produce white eggs, and Copper Marans lay the darkest brown eggs. Almost all the eggs are laid in the coop and drop into baskets, but some are found among the wood shavings inside. The volume of eggs produced is determined by a variety of different factors, including the seasons and weather patterns. Regardless of the time of year, Biltmore’s eggs find a ready audience waiting at estate restaurants. “There’s nothing like farm-fresh eggs,” Melonye said.
Experience the thrill of The Hunt Posted on September 5, 2014 at 12:00 am.Written by Karina Hux We are honored to announce the release of our newest wine—The Hunt. Inspired by the celebration of feasts based on estate hunts, this wine is a robust, Bordeaux-style red blend of 40% Cabernet Sauvignon, 35% Cabernet Franc, and 25% Merlot, handcrafted using grapes from our growing partners in Sonoma County. Winemaker’s notes According to winemaker Bernard Delille, The Hunt has been aged for about 18 months in French and American oak barrels. “The intensely dark, black cherry color shows its rich layers, while its nose expresses black cherry, blackberry, and raspberry, with notes of vanilla, oak, and chocolate,” said Bernard. “We have worked hard to attain a nicely balanced wine with velvety, mouth-coating tannins that linger softly. The Hunt offers good aging potential. If you let it age, good—but if you can’t wait, The Hunt is delicious by the glass and pairs especially well with smoked meats and cheeses, short ribs, duck confit, venison, and other game meats.” A label inspired by the past The Hunt’s striking label was inspired by the strong lines and rich heritage of an extraordinary firearm in Biltmore’s original collection and features a photograph of the finely wrought engraving of a vintage Auguste Francotte shotgun crafted of walnut, steel, and silver. Remarkable for its outstanding balance, finely hand-checkered stock, and detailed engraving, this double-barreled, double-trigger shotgun was made by the Belgian company Francotte & Cie, one of the world’s premier gun makers. “Francotte’s sporting firearms were considered to be among the highest quality,” said Leslie Klingner, Biltmore’s Curator of Interpretation, “and would have been a first-rate choice for the Vanderbilts and their guests when shooting rabbits and quail.” Architectural elements The Hunt is also a nod to Biltmore’s legendary architect, Richard Morris Hunt, who worked closely with George Vanderbilt to create the iconic French Renaissance-style chateau, which would be his final masterpiece of creative design and technological innovation. Join us in the celebration of The Hunt’s release. This outstanding wine is a perfect choice for those who appreciate luxury, adventure, and the best that Biltmore has to offer! Purchase The Hunt on the estate during your next visit.
First in Forestry: Carl Schenck and the Biltmore Forest School Posted on September 5, 2014 at 12:00 am.Written by Karina Hux A little bit of the past caught up with Biltmore last week when actors portraying George Vanderbilt, Frederick Law Olmsted, Gifford Pinchot and Carl Schenck were on property to film scenes for a documentary about Schenck, “First in Forestry: Carl Schenck and the Biltmore Forest School.” The film looks at the role that Schenck, Biltmore’s chief forester in the 1890s, and America’s first school of forestry, played in American conservation history. As you can imagine, the production created chatter among our guests and in particular, Biltmore employees, who recognized Vanderbilt, Biltmore’s visionary founder. Actor Peter Van Rijssen easily looked the part, especially due to the moustache he grew for the role. The Forest History Society and Bonesteel Films of Asheville are collaborating on the film. We think they did a fine job of casting the four pivotal roles. See for yourself: Click here to view the documentary trailer on YouTube!
Guastavino’s architectural influence in Asheville Posted on September 3, 2014 at 12:00 am.Written by Jean Sexton When Spanish architect Raphael Guastavino came to the U.S. in 1881, he already had a reputation for creating grand arches, domes, and vaults in Europe. Within a few years, his work caught the attention of Richard Morris Hunt, head architect for Biltmore House. “Guastavino had introduced an impressive and inexpensive alternative to iron beam construction in the U.S. that resulted in interiors with soaring arches and open spaces,” said Leslie Klingner, Curator of Interpretation. “His tile work was low maintenance, fireproof, and functional.” He was commissioned by Hunt to create the decorative tile vaulting at Biltmore House, including the hall ceilings around the Winter Garden. His tile work in the Swimming Pool is reminiscent of the vaulting in New York City’s earliest subway stations, another Guastavino design. “The herringbone pattern on the ceiling of the Porte Cochere as you exit the house is remarkable,” Leslie said.“He also created the beautifully patterned vaults at the Lodge Gate—the acoustical effects when horses passed through there must have been amazing.” After his work on Biltmore House, Guastavino also remained in the area, focusing on two projects near and dear to his heart. His masterpiece—St. Lawrence Basilica in downtown Asheville—is listed on the National Register of Historic Places and the architect is buried there. Guastavino finished the plans, including a dramatic freestanding elliptical dome, and gave them to the church but died before construction was complete. Guastavino built a modest estate known as Rhododendron in Black Mountain. His home, called the Spanish Castle, was a rambling three-story wood structure built with timber from his property. Outbuildings included wine cellars, chapel, bell tower, and kilns where he experimented with tile and glazes. Unfortunately, the home burned in the early 1940s. Some ruins remain, mostly the kilns and wine cellars, on property which is now part of Christmount Christian Assembly. A walking tour on the property offers a view into this working estate from the late 1800s into the 1940s, including photographs and information from historical sources. The Christmount Guest House hosts a temporary exhibit displaying relics from the house and kiln areas found over the years; the exhibit is open to the public. Around the country, more than 1,000 buildings feature his designs, including his signature vaulting, including the Boston Public Library, New York’s Grand Central Terminal, Carnegie Hall, and the Elephant House at the Bronx Zoo. Photos Main: Swimming Pool in Biltmore House, with tile vaulting created by Raphael Guastavino Left: St. Lawrence Basilica in Asheville, ca. 1909, designed by Raphael Guastavino. Photo courtesy of St. Lawrence Basilica.