Biltmore’s History of Giving Back During the Holidays

Christmas has always been a special time at Biltmore, from George Vanderbilt’s opening of Biltmore House on Christmas Eve 1895 to the Christmas at Biltmore celebrations of today. The holidays at Biltmore have also been a time of intentionally giving back to the community.

Although George and Edith Vanderbilt made philanthropic contributions year-round, Christmas provided an opportunity to connect with the residents of Asheville and Western North Carolina to share in the spirit of the season.

Learn more about this tradition of giving back during the holidays.

Giving back through healthcare

Archival photograph of George Vanderbilt and his cousins traveling in Europe in the late 1800s
George Vanderbilt (standing, right) traveling in Spain with his cousin Clarence Barker (seated, left), niece Maria Louisa Schieffelin (seated, right), and her husband William Jay Schieffelin (standing, left), 1891. The Vanderbilts created Clarence Barker Memorial Hospital in Asheville, NC, in honor of Barker who passed away at Biltmore in 1896.

A particular priority for the Vanderbilts was making high-quality medical care more accessible to the community. George, Edith, and Cornelia Vanderbilt financially supported area hospitals including the Clarence Barker Memorial Hospital (later the Biltmore Hospital), which they founded in Biltmore Village to provide care to residents of the estate and the area.

During the holidays, however, the Vanderbilts contributed a little extra to extend cheer to the staff and patients. Beginning as early as 1903, Edith Vanderbilt ensured patients in the wards of the Clarence Barker Memorial Hospital, Mission Hospital, and General Hospital No. 19 at Oteen had a festive supply of estate-grown holly, mistletoe, wreaths, and Christmas trees. One House Mother at General Hospital No. 19 assured Edith that her annual donations “provide Christmas Cheer for the patients in this hospital.”[1]

Faith and philanthropy

All Souls Church in Biltmore Village, ca. 1906
Archival photograph of All Souls Church in Biltmore Village, ca. 1906.

Christmas also provided an opportunity for the Vanderbilts to grow closer to their faith community at All Souls’ Church in Biltmore Village. From the earliest days of All Souls’, George Vanderbilt not only attended services but found ways to include members of the church in his Christmas celebrations.

In 1896, for example, George Vanderbilt hosted members of the choir and administration of All Souls’ at a Christmas Day tea held at Biltmore House. The Asheville Citizen-Times remarked George “entertained his guests in a manner that made the evening a memorable one. After tea, the guests were shown over Biltmore House and made to feel thoroughly at home.”[2] George and Edith hosted the choir each year they were at Biltmore for Christmas until 1913.

Giving back through employee Christmas parties

Archival invitation to the 1909 Biltmore Estate employee Christmas party
Invitation to the 1909 Biltmore employee Christmas party.

A new tradition began in 1897 when All Souls’ Church was selected as the location for Biltmore’s employee Christmas party. Festive décor included a large star made of holly and pine hanging from the center of the chancel arch along with live pine trees growing in boxes in each corner of the building.

A 25-foot spruce replaced the choir stalls, “beautifully dressed with gleaming ornaments and lights and gifts, and from its topmost branch was suspended a large figure of an angel which seemed to waft a benediction upon the assembly and the ceremonies of the night.”[3] While the décor was not quite so elaborate in subsequent years, the 1902 decorations included a star made up of 200 incandescent lightbulbs in what must have been a dazzling display accompanying Christmas services.[4]

Western Union telegraph message from Edith Vanderbilt Gerry to everyone at Biltmore Estate for Christmas 19XX
Western Union “Holiday Greetings” telegram message from Edith Vanderbilt Gerry to everyone at Biltmore Estate.

Even after George Vanderbilt’s passing and Edith’s eventual marriage to Senator Peter Gerry of Rhode Island in 1925, she continued the tradition of giving back by coordinating Christmas donations from afar while her daughter Cornelia and husband John Cecil actively supported local hospitals.

Making Christmas bright for children

Archival photograph of a decorated Christmas tree at the Biltmore Parish Day School in 1897
Archival photograph of Christmas decorations at the Biltmore Parish Day School, ca. 1899.

Also bringing cheer to the children of Biltmore Village was the Biltmore Parish Day School, run by All Souls’ Church in the Parish School building beginning in 1898. With their focus on creating memorable Christmases for their employees, it is no surprise that George and Edith also supported the Parish Day School’s holiday celebrations.

The All Souls’ Yearbook for 1899 reveals separate parties were held for older and younger children, both involving Christmas trees, gifts, and refreshments. An 1899 All Souls’ Yearbook notes the importance of this party: “As it was the only Christmas some had, we endeavored to make it as bright as possible… some of them had never seen a lighted tree before, it was a genuine delight to them.”[5]

George and Edith established the operating fund with which the school funded its yearly Christmas celebrations, as well as provided scholarships to students who could not cover the $10 annual tuition.

A Vanderbilt tradition of giving back

Two girls looking up at Christmas lights
Starting on the very first Christmas morning in 1895, the annual Biltmore Employee Christmas party has been a special annual tradition for employees and their families that continues today.

The Vanderbilts firmly believed in giving back as their responsibility to the communities in which they lived, a belief that became especially clear during the holidays. At Christmastime, the Vanderbilts gave in personal ways, ensuring that those without access to Vanderbilt resources still experienced a happy Christmas.

The philanthropic efforts of the Vanderbilt family were not only directed toward their neighbors and children within the community but also extended beyond the boundaries of Biltmore Estate. Their involvement created a foundation that has guided the philanthropic efforts of their descendants throughout generations, both during the holidays and beyond.


[1] Letter held in the Biltmore House Archives, 1919.

[2] Asheville Citizen-Times, December 26, 1896; p. 1.

[3] Asheville Citizen-Times, December 27, 1897; p. 2.

[4] Asheville Citizen-Times, December 26, 1902; p. 5.

[5] All Souls’ Church Yearbook, 1899.

George Vanderbilt: An American Renaissance Man

Was George Vanderbilt an American Renaissance man?

“He certainly embodied many of the ideals of this period that flourished during his lifetime, and you can still see the influence of the era at Biltmore today,” said Meghan Forest, Associate Curator.

What was the American Renaissance?

Archival photo of George Vanderbilt and his three cousins in Spain
George Vanderbilt (standing, right) traveling in Spain with his cousin Clarence Barker (seated, left), his niece Maria Louisa Schieffelin (seated, right), and her husband William Jay Schieffelin (standing, left), 1891.

In the decades following the Civil War, the United States experienced an optimistic rebirth that mirrored the European Renaissance of the 17th century.

“The American Renaissance was all about developing a national identity of what it means to be American, and part of that was setting up the United States as the successor to the cultural accomplishments of countries across Europe,” Meghan said.

While the European Renaissance had stirred interest in exploration and experimentation in disciplines such as art, architecture, and science, the American Renaissance awakened a desire to explore classic themes and destinations, drawing inspiration from travels abroad to use at home.

America’s coming of age

The American Renaissance took place in the latter part of the 19th century, marking a renewed confidence in the nation’s outlook with time and attention lavished upon the development of ideas, urbanization, transportation, and new forms of communication.

“It was the American Renaissance that made the Gilded Age possible,” said Meghan. “Innovation in technology, propelled by the intellectual energy of the time, led to industrial growth that gave rise to prominent American families like the Vanderbilts.”

Once such families became wealthy, many contributed to pushing the arts farther than previous generations, so the American Renaissance ushered in the glamorous Gilded Age.

American Renaissance ideals

Photograph of Biltmore House and the Italian Garden, ca. 1910
Photograph of Biltmore House and the Italian Garden, ca. 1910

It was during the confluence of both periods that George Vanderbilt first visited Asheville, North Carolina, and became enamored with the area. He envisioned building his new home there, creating a retreat for friends and family that would also showcase his interest in art and literature and house the treasures he collected during his travels.

He retained the services of Richard Morris Hunt and landscape architect Frederick Law Olmsted—two of the most influential designers of the American Renaissance era—to create Biltmore House and its magnificent gardens and grounds.

World’s Columbian Exposition

(L-R) purchasing agent and agricultural consultant Edward Burnett, architect Richard Morris Hunt, landscape architect Frederick Law Olmsted, George Washington Vanderbilt, and architect Richard Howland Hunt, son of Richard Morris Hunt, 1892

In 1893, four years after construction began at Biltmore, Chicago hosted the World’s Columbian Exposition. With its remarkable “White City” thoughtfully planned by the nation’s leading designers including Hunt and Olmsted, the extraordinary event further elevated American Renaissance ideals such as world exploration, the experience of different cultures, and new technology like electricity.

With Hunt and Olmsted traveling between Asheville and Chicago during this pivotal time to oversee their roles in both massive projects, it was evident that the Columbian Exposition and Vanderbilt’s new estate shared a common thread: both were created in the regal and fashionable Beaux Arts style that favored neoclassical architecture and European-inspired formal gardens.

“In addition to Hunt and Olmsted’s presence there, we know that George Vanderbilt attended the Columbian Exposition, and that he contributed materials from Biltmore’s managed forestry initiative for estate forester Gifford Pinchot to display. The flags above the fireplace in the Biltmore House Banquet Hall represent the countries that participated in the Columbian Exposition,” Meghan said.

Meaningful travel

George Vanderbilt (seated, third from left) with unidentified gondola companions in Venice, circa 1890
George Vanderbilt (seated, third from left) with unidentified gondola companions in Venice, 1887.

Like many other wealthy Americans of the era, George Vanderbilt traveled extensively, and his trips to Europe, India, and Japan helped fuel his appreciation of history, architecture, and culture.

In particular, his sojourns to Rome, Venice, Milan, and Florence—the epicenter of the Italian Renaissance—gave George Vanderbilt a passion for all things Italian, leading him to choose Italy as a romantic backdrop for the first six weeks of his and Edith Vanderbilt’s four-month European honeymoon.

Renaissance art and patronage

Nocturne: Battersea, c. 1871-1873, James Abbott McNeill Whistler
Nocturne: Battersea, c. 1871-1873, James Abbott McNeill Whistler, on display in Oak Sitting Room. George Vanderbilt purchased this piece in 1900 from dealer Wunderlich and Company.

In order to succeed during the Italian Renaissance, many artists including Michelangelo, Da Vinci, and Botticelli sought and accepted the patronage of wealthy individuals and entities such as the church and the government in order to create works of lasting beauty.

During America’s Renaissance, George Vanderbilt was an active patron of the arts, commissioning and collecting pieces from the new Impressionists as well as many other established artists of his day.

Vanderbilt’s support extended beyond the stunning works he purchased; he also provided philanthropic support for certain libraries and art facilities in New York, educational and vocational support in Asheville, and corresponded with several notable artists including Claude Monet, John Singer Sargent, and James McNeill Whistler

Vanderbilt’s lasting legacy

Italian Renaissance wellhead used as a fountain at Biltmore House
Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt.

The appreciation of man and his capabilities flourished during the American Renaissance, and the nation felt uniquely positioned to take a leading role in the global arena. George Vanderbilt personified the outlook of this important period in our nation’s history, and, as a true American Renaissance man, his contributions continue to stand the test of time.

Today, you can explore lingering expressions of the American Renaissance with a visit to Biltmore Estate in Asheville, NC. Highlights include America’s Largest Home®, still filled with many of the more than 50,000 objects in Biltmore’s collection, plus 75 acres of exquisitely landscaped and preserved formal gardens that gradually give way to meadows, fields, and managed forests surrounding the property.

Inspiration from Italy

The Birth of Venus by Botticelli
The Birth of Venus by Botticelli is just one of the iconic artworks you’ll experience on a grand scale during our Italian Renaissance Alive exhibition at Biltmore

During your next Biltmore visit, immerse yourself in the sights and sounds of Italian Renaissance Alive, the latest multi-sensory experience created and produced by Grande Experiences and hosted on the grounds of the estate.

In nearby Antler Hill Village, you’ll discover a charming accompaniment to Italian Renaissance Alive through Ciao! From Italy, a large-scale sculptural postcard display featuring quotes and details from the Vanderbilts’ Italian travels.

Plan your Biltmore visit now

Two farm-style cottages with cows in a pasture
Visit like a Vanderbilt when you choose one of our private, historic Cottages on Biltmore Estate.

Surround yourself with the architecture, travel, and art of the American Renaissance, and make your time with us even more unforgettable with an overnight retreat at one of our thoughtfully designed properties: Village Hotel on Biltmore Estate®, The Inn on Biltmore Estate®, or our historic private Cottages on Biltmore Estate™.

Afternoon Tea at Biltmore Is a Treasured Tradition

Afternoon tea at Biltmore is a treasured tradition inspired by the Vanderbilt family.

Archival photo of a group of men and women, plus two large dogs, having afternoon tea at Biltmore House
Afternoon tea on the Loggia, May 1903. L-R: Edith Vanderbilt with unidentified dog, Mademoiselle Rambaud (Edith Vanderbilt’s former chaperone), Lila Vanderbilt Webb (George’s sister), Mary Webb (Lila’s sister-in-law), Isabella Stewart Gardner, William Blodgett II, and George Vanderbilt with a St. Bernard.

Afternoon tea at Biltmore

Although “taking tea” often seems like a formal affair, archival records show that afternoon tea at America’s Largest Home® wasn’t always regimented. “We have photos that show the Vanderbilts and their guests having tea while lounging outside with their dogs,” said Lauren Henry, Curator of Interpretation.

Another photo shows George Vanderbilt pouring tea for Edith at Buck Springs Lodge in a very rustic setting. “What this photo tells me is that tea was very much a part of their culture, an integral part of daily activities. They probably served it on camping trips!” Lauren said.

The perfect place for afternoon tea

Archival photo of a young boy and girl having a tea party
Cousins John Nicholas Brown and Cornelia Vanderbilt at a tea party in 1906

Children were often included at tea with the Vanderbilts. “There is a letter from Edith Vanderbilt’s sister Pauline describing her day at Biltmore and talking about the children coming down for tea,” said Lauren. “It was unusual in those days for kids to be present at tea with the adults, but Pauline noted it was a good time to reconnect.”

The Vanderbilts frequently served tea in the Tapestry Gallery. “I like to imagine that in the winter they pulled up chairs to the fireplace,” Lauren said. “And in warmer weather they sometimes enjoyed afternoon tea on the Loggia to take advantage of the cool breezes and breathtaking views all the way to Mt. Pisgah.”

Served in style

Here’s a selection of the stylish tea sets that the Vanderbilts and their guests enjoyed at Biltmore:

Cup, saucer, and teapot featuring George Vanderbilt's monogram
George Vanderbilt’s elegant white china with burgundy and gold trim. It was manufactured by Minton and Spode-Copeland, and used for everyday occasions.
Blue and gold tea set with a monogrammed linen cloth.
This blue-and-gold porcelain tea set displayed in the Tapestry Gallery of Biltmore House was made in France around 1888; the lovely floral detailing shown here on the cup is a hallmark of Rococo revival style. The piece of fringed linen with red-and-gold cross stitch is also from the Biltmore collection.
Silver Tiffany & Co. tea set
This silver Tiffany & Company tea set was a gift to George Vanderbilt from his mother and it is engraved with his and her initials. She gave him with the set—a gracious symbol of hospitality—to serve guests aboard Swannanoa, his private train car.

Reserve afternoon tea at Biltmore today!

A plate of sweet treats for afternoon tea at Biltmore
A selection of sweet treats that you’ll enjoy as part of your Afternoon Tea at The Inn on Biltmore Estate®

For more inspiration on the tradition of taking tea, reserve Afternoon Tea at the The Inn on Biltmore Estate®. It’s the perfect opportunity to relax with friends and feel just as if you were a special guest of the Vanderbilts.

Your afternoon tea is served in The Dining Room of The Inn and features delights such as fresh-baked scones with clotted cream, honey, and preserves, artfully prepared sweet and savory canapés, and finely cut tea sandwiches. You can even indulge in a carefully crafted tea-infused cocktail or other spirited offerings.

George Vanderbilt: A Passion For Italy

George Vanderbilt–traveler, collector, and patron of the arts–appreciated the finer things in life, but had a special passion for the culture and creativity of Italy. His trips there and other regions he visited across Europe helped shape his appreciation for art, architecture, and fine wine.

“Throughout his life, George Vanderbilt traveled the world, first with family and friends, and after he married, his wife Edith and their daughter Cornelia often accompanied him,” said Meghan Forest, Associate Curator.

George Vanderbilt’s first Italian visit

Archival image of the Colosseum, 1887. Rome, Italy
Archival image of the Colosseum, 1887. Rome, Italy.

Based on correspondence in our archives, Italy seems to have been a favored destination for George Vanderbilt. He first visited the country in 1880 when he was 18 years old, taking in notable sites such as Rome and Vatican City.

The visit included a stop in Milan where the church and Dominican convent of Sante Maria della Grazie was of particular interest as its refectory contains The Last Supper fresco painted by Italian Renaissance artist Leonardo da Vinci.

Further travels in Italy

The Last Supper fresco painting by Leonardo da Vinci
The Last Supper fresco painting by Leonardo da Vinci, c. 1495–1498.

In 1887, George Vanderbilt took an extended trip to Italy, taking in some of the well-known sites including Pisa Cathedral with its famously tilted bell tower, better known as the Leaning Tower of Pisa.

He also visited Venice with its winding canals and Florence, the city long considered the epicenter of Italian Renaissance art and culture. Florence offers some of the most iconic treasures of the era, including the Uffizi Museum and the Cathedral de Santa Maria dell Fiore, generally referred to as the Duomo because of its two free-standing domes.

Archival photo of three passengers and two rowers in a gondola in Venice, Italy
George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887

Seven years later, George Vanderbilt returned to Italy with members of his family including his niece Adele Sloan. They visited Taormina and the ruins of the Taormina Amphitheatre built by the Greeks and renovated 600 years later by the Romans. Such sites were popular destinations during the American Renaissance of the late 19th century as travelers sought to understand the ancient world.

Honeymooning in Italy

Villa Vignolo near Stresa, Italy, c. 1898.
Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy, c. 1898.

“Another reason we believe George Vanderbilt had a passion for Italy is because he chose to take his new bride Edith there after they were wed in Paris in 1898. The Vanderbilts spent the first six weeks of their four-month honeymoon at Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy,” Meghan said.

While there, the Vanderbilts took short trips to various museums and galleries, taking in sights such as the iconic Rialto Bridge over the Grand Canal in Venice. In Edith, George found a partner who shared his passion for history, literature, and the arts.

In a letter to artist James McNeill Whistler, George wrote of their time in Italy, “It was Mrs. Vanderbilt’s first visit… It has been an added pleasure of course to see her delight and interest… “ *

Italian Renaissance wellhead, c. 1500
Made of Rosso di Verona marble, this fountainhead was likely originally used to decorate and protect an active well in Venice during the Italian Renaissance, c. 1500. It has become known as the “Hunt Fountain” as it is depicted in the John Singer Sargent portrait of Biltmore House architect Richard Morris Hunt.

Explore Ciao! From Italy Sculptural Postcard Display

As a delightful complement to our new Italian Renaissance Alive exhibition, we’ve partnered with our friends at Applied Imagination to create a series of eight sculptural postcards that showcase George Vanderbilt’s Italian travels in a big way.

Located in Antler Hill Village from April 1, 2023 to February 19, 2024, Ciao! From Italy combines intricate botanical designs with authentic messages from the Vanderbilts in a large-scale format that’s sure to charm all ages. The experience is included with estate admission.

Featured blog image: George Vanderbilt (seated, far right) with unidentified men riding a gondola in Venice, 1887

*George Washington Vanderbilt to James McNeill Whistler. 10 Jul 1898. The Correspondence of James McNeill Whistler. Glasgow University Library, University of Glasgow: 05919.

Patron of the Arts: George Vanderbilt

As a patron of the arts, George Vanderbilt remains a remarkable example of the difference one man can make in the field of fine art and education.

With his deep appreciation and understanding of arts and languages and his vision for a self-sustaining country estate, George Vanderbilt was part of the American Renaissance that flourished during the Gilded Age.

Detail of George Vanderbilt portrait by John Singer Sargent, painted in 1890.

A patron of the arts

George Vanderbilt did more than simply collect and appreciate art, however; he was also a passionate patron who befriended artists such as John Singer Sargent and James McNeill Whistler, commissioning their works for his home and corresponding with them far beyond the particulars of portraiture.

Literary writers including Edith Wharton and Henry James were welcomed at Biltmore, and George Vanderbilt’s close friend and author Paul Leicester Ford spent several weeks at the estate while working on his novel Janice Meredith: A Story of the American Revolution

(left) George Vanderbilt’s personal bookplate.

Library patron

In addition to his personal friendships with artists, George Vanderbilt was a great proponent of public access to the arts, using his philanthropic values to ensure that others could benefit from institutions such as free lending libraries.

While most libraries of that era required patrons to pay for the books they borrowed, Vanderbilt provided funding to build the Jackson Square Free Circulating Library of the New York Public Library System and filled it with books that he donated. This library was one of the first open to the general public.

Rhinocerous print by Albrecht Dürer in Biltmore’s collection.

Support for young artists

Another of George Vanderbilt’s most significant donations was to The American Fine Arts Society in support of young artists. In 1892, Vanderbilt donated $100,000 to pay for the property and construct the building that the Society would use for exhibiting members’ work.

Named the Vanderbilt Gallery in his honor, the inaugural exhibition was a show of prints by Rembrandt and Albrecht Dürer, plus prints based on the paintings of Sir Joshua Reynolds, all from George Vanderbilt’s personal collection.

While some of the Durer prints and those after the style of Reynolds remain in the Biltmore collection, the original Rembrandt prints were sold to J.P. Morgan. You can see a selection of detailed reproductions in the Oak Sitting Room of Biltmore House.

Formal photo portrait of young George Vanderbilt (detail)

Living the legacy

We continue George Vanderbilt’s passion for the arts today by hosting exhibitions such as Legends of Art & Innovation at Biltmore featuring four separate large-scale, multi-sensory events created and produced by Grande Experiences using the very latest in immersive technology.

Past exhibitions have illuminated the remarkable lives of artists such as Van Gogh, Monet, and Da Vinci, while the current Italian Renaissance Alive exhibition showcases a wide range of timeless masterpieces from that dramatic era in European history.

Each individual exhibition offers fascinating ties to Vanderbilt’s collection of treasures on display in Biltmore House, his magnificent family home, in Asheville, North Carolina.

Featured: Bronze bust of George Vanderbilt by Mary Grant

Edith Vanderbilt & Photography

Photography was one of Edith Vanderbilt’s many passions. In turn, her photographs of life at Biltmore Estate in Asheville, NC help inform our curatorial interpretations today.

With the introduction of roll film and the hand-held camera in the 1880s, photography became truly accessible to casual amateurs for the first time. There are a few distinct ways that we know that Edith embraced this new medium and enjoyed photography throughout her lifetime.

Edith Vanderbilt with camera on tripod
Archival photograph of Edith Vanderbilt with a camera and tripod along the banks of the French Broad River, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion.

Photos of Edith Vanderbilt with a Camera

One of the most concrete ways we know of Edith’s interest in photography is thanks to photographs in the Biltmore collection in which she is pictured with a camera in hand. Many of these photos came from one series in particular.

In the winter of 1905-1906, George Vanderbilt’s niece Edith Fabbri and her husband Ernesto visited Biltmore. During their trip, Edith Vanderbilt and Ernesto appear to have gone on a photography excursion on the estate and in nearby Biltmore Village.

Multiple images from this series taken by Ernesto capture Edith with her camera and a tripod.

Archival photograph of George Vanderbilt on a horse in front of Biltmore House. Reverse reads “Sept. 25th 1901, Taken, developed and printed, without help” in Edith Vanderbilt’s handwriting.
Archival photograph of George Vanderbilt on a horse in front of Biltmore House. Reverse reads “Sept. 25th 1901, Taken, developed and printed, without help” in Edith Vanderbilt’s handwriting.

Photos with Edith Vanderbilt’s Handwriting on the Back

Additionally, there are more than a dozen photographs in our archival collection that we know were captured by Edith as her distinct handwriting is on the back of the images.

Not only was she taking these photos, but Edith was also learning to develop many of them herself. She seemed very proud of this skill set, writing on the back of one photograph: “Taken, developed and printed, without help.”

Three of the 14 copies of the archival photograph of George and newborn Cornelia Vanderbilt demonstrating her practice of photography techniques
Three of the 14 copies of the archival photograph of George and newborn Cornelia Vanderbilt on the Loggia, October 1900. These photos were presumably taken by Edith Vanderbilt.

Multiple Copies of Photos of Family Moments

There are also many photographs we presume to have been taken by Edith, including shots of more intimate family moments. For instance, she was likely responsible for the images of George Vanderbilt with their newborn daughter Cornelia on the Loggia.

In our archival collection, there are 14 copies of what appear to be essentially the same image from that series. However, each of the copies varies slightly in exposure and cropping, which speaks to Edith’s experimenting with development techniques as she worked to hone her craft.

Edith Vanderbilt’s No. 4 Panoram Kodak camera Model B from ca. 1900-1903
Edith Vanderbilt’s No. 4 Panoram Kodak camera Model B from ca. 1900-1903. This archival object is currently on display in The Biltmore Legacy as part of our “The Vanderbilts at Home and Abroad” exhibition.

Location of the Edith Vanderbilt’s Darkroom

We know that Edith was developing her own photographs, but we do not know with certainty the location of the darkroom she used.

One archival manuscript includes mention of a “Photograph Room” in the Bachelors’ Wing of Biltmore House. However, we’ve yet to find additional sources to confirm where this space was located and how it was used.

There are also employee recollections of darkroom equipment being present in the Basement, though it is unclear if this was the location of the equipment when Edith lived in Biltmore House or if it was later moved.

Our curatorial team continues to research this topic.

While we may not know the full extent of Edith Vanderbilt’s engagement with the modern hobby of photography, her photographs—as well as others presumed to have been taken by her—offer glimpses into life at Biltmore during the Vanderbilts’ era that we would not have otherwise.

Feature image: Archival photograph of Edith Vanderbilt with a camera and tripod in Biltmore Village, ca. 1905-1906. This photo was taken by Ernesto Fabbri during a photography excursion.

Preserving the Legacy of Cornelia Vanderbilt’s “Baby Tree”

In honor of the arrival of George and Edith Vanderbilt’s first and only child, a “baby tree” was planted just after her christening.

The Baby Tree: A Cucumbertree Magnolia

The Vanderbilts welcomed Cornelia Stuyvesant Vanderbilt in the late summer of 1900. In October of that year, a cucumbertree magnolia, known to botanists as Magnolia acuminata, was planted in Cornelia’s honor.

George Vanderbilt with newborn daughter Cornelia on the Loggia of Biltmore House, September 30, 1900
George Vanderbilt with newborn daughter Cornelia on the Loggia of Biltmore House, September 30, 1900

The cucumbertree is a deciduous magnolia with large oblong leaves. Unlike most other magnolias, its flowers are yellowish green and not very showy, causing them to often go unnoticed when they bloom in late May or early June. In its early stages, the green, fleshy fruit roughly resembles a small cucumber, hence the tree’s name.

Biltmore’s botanist, Chauncey Beadle, had collected the scarlet seeds of this indigenous tree found growing along the banks of the French Broad River near the estate. Beadle propagated the seeds in the Biltmore Nursery

In a letter within Biltmore’s archives, Beadle wrote:

“The seedlings resulting from this sowing were planted out in nursery rows, cultivated and pruned and eventually, placed along the roads and paths of the Estate with the exception of one tree, a particularly beautiful and thrifty individual, which remained on [sic] the nursery until chosen for the noteworthy occasion of which this writing bears record.”

The planting ceremony for Cornelia's Baby Tree, October 1900
The planting ceremony for Cornelia’s Baby Tree, October 1900

The Planting Ceremony

The planting of the cucumbertree magnolia, known fondly as the “baby tree” or “Cornelia’s tree,” was a small and intimate event. The Vanderbilt family, Beadle, Dr. Samuel Westray Battle, and a few estate workers were the only attendants.

A 1900 Asheville Daily Citizen article states:

“The spot selected is in a beautiful grassy dell near Biltmore House. The tree itself, now but a sapling of twelve feet in height, is expected to be 60 feet above the ground when little Cornelia reaches the age of 20 years. A few years after that event, it is expected that it will reach a height of 100 feet. It lives centuries, and is one of the prides of our beautiful southern forests.”

The baby tree grew to be massive, standing proudly in the Azalea Garden, just below the junction of the two main paths leading into the garden below the Conservatory and greenhouses.

The second generation cucumbertree magnolia, located in Biltmore's Azalea Garden
The second generation cucumbertree magnolia (center), located in Biltmore’s Azalea Garden

The Baby Tree’s Second Generation

After surviving more than a century, the cucumbertree succumbed to decay. Though a difficult decision, it was removed in September 2008. By that time, the baby tree had lost most of its bark and had just a few remaining branches.

Fortunately, the historical significance of the tree along with the gorgeous color and diversity of its wood grain made its timber ideal for repurposing. The usable wood was custom-sawn into thick slabs and dried to create “high boy” cocktail tables at Cedric’s® Tavern in Antler Hill Village.

Today, the second generation cucumbertree magnolia, which seeded naturally when the original baby tree was still living, can be found thriving in the same exact location in the Azalea Garden, preserving the legacy of this historic tree

George Vanderbilt: A Thoughtful Wine Collector

George Vanderbilt was a thoughtful wine collector, whether at home or abroad.

Taste and style were two hallmarks of his life, and both are reflected throughout Biltmore—his private country estate in Asheville, North Carolina.

Visually stunning and technologically advanced, Biltmore House is a testament to Vanderbilt’s vision.

A Thoughtful Collector

Discover Biltmore white wines for outdoor entertaining
George Vanderbilt’s legacy of gracious hospitality lives on with Biltmore wines handcrafted from grapes grown in the estate’s own vineyard or selected from trusted west coast partners

George Vanderbilt was well-known as a collector, travelling the world gathering art, sculpture, furniture, and books. He also enjoyed wine, frequently purchasing it abroad and bringing cases of wine back to his home in Asheville to share with his family and friends.

Vanderbilt’s gracious hospitality was legendary, and a visit to his home was characterized by the best in comfort, entertainment, and attention to every detail, including the wines that graced his table and delighted his guests.

Man in a suit examining the library of Biltmore wines in the Winery
Wine cellars don’t have to be stuffy–evaluate your space and your lifestyle for options!

Wine research at Biltmore

In 2008, wine consultant John Hailman visited Biltmore to look at Vanderbilt’s wine cellar and the vintages stored there, and to review wine-related notes and correspondence from the Vanderbilt era.

Having been a wine columnist for the Washington Post, with his work nationally syndicated for more than a decade, Hailman is considered one of the foremost authorities on wine. In 2006, he wrote Thomas Jefferson on Wine, an examination of Jefferson’s influence as a wine connoisseur and collector in the early days of the nation.

Archival Bltmore wine receipt
A portion of an archival receipt for a wine and spirits order to be delivered to Biltmore House

Through Hailman’s research, we now have a better understanding of George Vanderbilt as a thoughtful wine collector. Archival correspondence, notes, and receipts suggest that Vanderbilt was well-versed in wines, purchasing those he enjoyed sharing.

Vanderbilt was also a practical buyer, preferring high quality vintages at reasonable prices, such as wines from Chateau Pontet-Canet which is still in business today in the Bordeaux wine region of France.

“Good enough for anybody”

Celebrate with Biltmore sparkling wines
Our handcrafted Biltmore bubbles make any occasion more special

Vanderbilt’s trusted wine purveyor Alexander Morten was known for his excellent taste and recommendations, and would have been a worthy provisioner for the Vanderbilt lifestyle. George Vanderbilt relied upon Morten’s suggestions and his outstanding contacts in the industry. In one letter dated February 14, 1914, Morten advises Vanderbilt on a particular vintage for an upcoming ball, suggesting:

“As to Champagne for a ball:- I can strongly recommend Pierlot 1906. This is a good, sound vintage wine, price $32.50, and is used almost exclusively by many of our customers for dances and entertainments of that ilk. If you have the slightest hesitation, however, I can recommend Pol Roger 1906; price $36. We also have Krug, Clicquot and Pommery of 1906 and 1904; but these are more expensive. The Pierlot is good enough for anybody.”

This letter is particularly poignant, as George Vanderbilt passed away in Washington, DC, just a month after he received this letter. We don’t know what type of ball the Vanderbilts might have been planning, but the preparations were apparently abandoned after Mr. Vanderbilt’s unexpected death.

“You have only to examine the amount and variety of crystal and stemware in the Biltmore collection—glasses for every possible occasion and type of beverage—to see the importance of wines and spirits as an integral part of dining and entertaining,” said Lauren Henry, curator of interpretation.

Crystal glasses with George Vanderbilt's monogram
Delicate crystal glasses with George Vanderbilt’s monogram on the Banquet Hall table

“Knowing that George Vanderbilt collected and enjoyed wine—and served it to his guests—forges a very real and logical connection between the Vanderbilts and the wine business their descendants have developed and continue to nurture today,” Lauren said.

Savor Biltmore Wines

Two couples enjoying white wine outdoors
Enjoy Biltmore wines while visiting the estate or savor them at home

Be sure to visit Biltmore’s Winery and enjoy a complimentary tasting of some of our most popular wines. Relax and enjoy our wines by the bottle or glass at the adjacent Wine Bar, then stock up on your favorite vintages at estate shops or online.

Featured blog image: John Singer Sargent portrait of George Vanderbilt paired with a selection of our fine Biltmore wines, including our Antler Hill series

Cedric the St. Bernard: Biltmore’s Very Good Boy

Cedric, a smooth coat St. Bernard, was a loyal companion to George Vanderbilt. Though we aren’t sure exactly how George came to own Cedric, we do know he was brought to the estate from Point d’Acadie, George’s summer home in Bar Harbor, sometime around the opening of Biltmore House in 1895. Cedric was likely 1-3 years old at this time.

Cedric, George Vanderbilt, and honeymooners Jay Burden and Adele Sloan, George’s niece, June 1895. This is one of the earliest photos of Cedric in the Biltmore House collection.
Cedric, George Vanderbilt, and honeymooners Jay Burden and Adele Sloan, George’s niece, June 1895. This is one of the earliest photos of Cedric in the Biltmore House collection.

Archival records reveal that Cedric received a lot of leeway around the estate. Correspondence from Biltmore House guests indicates that he had free reign on the first floor. He could often be found sunning on the Loggia or laying in the Library. He’s also seen in a number of pictures taken outdoors during Biltmore’s early days.

Cedric sunbathing on the Loggia, ca. 1900. The massive St. Bernard was known lounge and sometimes snooze in various locations through the first floor of Biltmore House.
Cedric sunbathing on the Loggia, ca. 1900. The massive St. Bernard was known to lounge and sometimes snooze in various locations through the first floor of Biltmore House.

Cedric was a true member of the Vanderbilt family and was treated as such. In addition to a couple of close friends and employees, Cedric was one of the few attendees at a private ceremony during which George and Edith Vanderbilt oversaw the planting of a commemorative tree to honor the birth of their daughter Cornelia in 1900.

George Vanderbilt, Cedric, and Cornelia Vanderbilt being held by her nanny at the planting of Cornelia's “Baby Tree
George Vanderbilt, Cedric, and Cornelia Vanderbilt being held by her nanny at the planting of Cornelia’s “Baby Tree”, October 1900. The photograph was likely taken by Edith Vanderbilt.

By 1901, there was a whole family of St. Bernards living at Biltmore, all adored by the Vanderbilts and their guests alike. In a letter to his wife, Joseph Hodges Choate, the American Ambassador to Great Britain and Biltmore House guest, wrote:

“I shall not attempt to describe the house, which is obviously the finest in America, but the dogs are truly magnificent … I wish you could see these great St. Bernards—five of them, father, mother and three children, all big and splendid.  They seem to fill the billiard-room and are most affectionate.”

Cedric dozing in the Library of Biltmore House, ca. 1896. The beloved St. Bernard was known to sprawl out and relax where ever George Vanderbilt was.
Cedric dozing in the Library of Biltmore House, ca. 1896. The beloved St. Bernard was known to sprawl out and relax where ever George Vanderbilt was.

George Vanderbilt gifted St. Bernards (believed to have been sired by Cedric) to friends and family.  In 1902, George’s friend the Right Rev. William Croswell Doane lost his faithful St. Bernard named Cluny, so George gave him a puppy named Balder. A few years later, George and Edith also gave a St. Bernard puppy to their nephew John Nicholas Brown, who named the dog Cedric.

Cornelia with one of her St. Bernards on the Esplanade of Biltmore House, ca. 1903. Cedric was the first of at least four generations born on the estate. The St. Bernard pictured is likely one of his grown pups.
Cornelia with one of her St. Bernards on the Esplanade of Biltmore House, ca. 1903.

Sadly, Cedric died in 1902 at Buckspring Lodge, where he was buried. To commemorate the occasion, Biltmore House guest Charlotte Pendleton wrote a poem in his honor, entitled Cedric: A Sonetto in Rondo, in the Nonsense Book.

Cedric on the Rampe Douce of the Esplanade in front of Biltmore House. This photograph accompanied a poem in the Biltmore House Nonsense Book honoring Cedric when he passed away in 1902.
Cedric on the Rampe Douce of the Esplanade in front of Biltmore House. This photograph accompanied a poem in the Biltmore House Nonsense Book honoring Cedric when he passed away in 1902.

Cedric Sonetto in Rondo

The Moses of your canine race

On Pisgah’s sapphire heights you strayed

Among her pink beds low you laid

Upon the high and lovely place;

You down to die where there is space,

Amid cathedral pine arrayed

With plumed crest and views that braid

Their columned stems with waving grace.

For your great body to lie down

Most fully housed, walk spreading skies

On beds of spicy needles, brown,

Fragrant; couched in majesty,

Rapt in deep solitude, a woven gown

Of shrouded mystery.

Measuring more than 33 inches around, Cedric’s original leather collar attests to the impressive size and heft of the Vanderbilts’ favorite breed.
Measuring more than 33 inches around, Cedric’s original leather collar attests to the impressive size and heft of the Vanderbilts’ favorite breed.

Today, we honor the legacy of Cedric the St. Bernard, Biltmore’s very good boy, with his eponymous restaurant: Cedric’s Tavern in Antler Hill Village. On your next estate visit, be sure to check out the many photographs of Cedric on the tavern’s walls as well the display of his impressive leather collar.

The Courtship that Crossed the Atlantic

The courtship of George Vanderbilt and Edith Stuyvesant Dresser was a transatlantic romance. The two shared a love of learning and travel. On the decks of ships, in shared opera boxes, in the artist studios and bookshops of the Parisian boulevards, their romance blossomed.

The Tower Bridge in London, c. 1900. Many reporters speculated that the London was where George and Edith Vanderbilt’s courtship first began, though it is likely they met prior.
The Tower Bridge in London, c. 1900. Many reporters speculated that the London was where George and Edith Vanderbilt’s courtship first began, though it is likely they met prior.

A London Introduction

In June 1897, George rented an apartment on London’s Pall Mall for the celebration surrounding Queen Victoria’s 60-year reign. London marked the occasion with a royal procession that wound its way around both sides of the River Thames. George and his guests viewed the event from their balcony above the splendid parade. Among the group was Edith, his future bride.

While reporters speculated that this was when the couple first became acquainted, it’s more likely the pair met through match-making family members as Edith was friends with some of George’s sisters and several of his nieces.

William B. Osgood Field with one of George Vanderbilt’s Saint Bernards, c. 1900. Willie played a significant role in the courtship of George and Edith Vanderbilt.
William B. Osgood Field with one of George Vanderbilt’s Saint Bernards, c. 1900. Willie played a significant role in the courtship of George and Edith Vanderbilt.

A Transatlantic Romance

In December of 1897, George Vanderbilt boarded the ocean liner SS St. Paul and began the adventure of his lifetime. Bound for England, Egypt, and India, the 35-year-old bachelor set sail with his friend William “Willie” B. Osgood Field. Also on board was Edith Stuyvesant Dresser, accompanied by her chaperone. George, Edith, and Willie spent time together on board, reading books aloud to each other and playing cards.

Willie wrote of the trip: “I soon saw that he [George] was rather smitten.”*

The Eiffel Tower in Paris, c. 1890. George and Edith Vanderbilt’s transatlantic courtship led the pair to wed in a Parisian civil ceremony with a religious ceremony the following day.
The Eiffel Tower in Paris, c. 1890. George and Edith Vanderbilt’s transatlantic courtship led the pair to wed in a Parisian civil ceremony with a religious ceremony the following day.

A Parisian Wedding

Smitten he was, for just six months later, after a whirlwind courtship abroad, George and Edith were married in Paris in a 15-minute civil ceremony on June 1, 1898. The wedding was presided over by the mayor of Paris at the Town Hall of the Eighth District in the Rue Anjou. An understated religious ceremony was held the following day at the American Church of the Holy Trinity, attended only by family and close friends.

Villa Vignolo near Stresa, Italy, c. 1898.
Villa Vignolo on the shores of Lake Maggiore near Stresa, Italy, c. 1898.

An Italian Honeymoon

Following their Parisian wedding, the Vanderbilts stayed near Stresa in the Lake District of Italy for the much of the summer. A peaceful villa served as the couple’s home base as they explored the area’s spectacular Alpine scenery and took short trips to visit some of Italy’s finest museums and galleries.

It wasn’t until after their transatlantic courtship, their Parisian wedding, and their Italian honeymoon that Edith first saw Biltmore, her new home.

*William B. Osgood Field Papers, Manuscripts and Archives Division. New York Public Library. Astor, Lenox, and Tilden Foundations.