Uncovering a life—based on a coat

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Recently, Biltmore’s Lenore Hardin, Associate Collections Manager, was cataloguing a servant’s livery coat from the Biltmore House collection when she discovered a label inside. It read, “S. Patrick… Mrs. Geo. Vanderbilt… Nov. 12 1921.”

Since the Museum Services staff was unaware of a servant by that name who had worked at Biltmore House, they dug a little deeper. Through research both in the Biltmore archives as well as in birth, death, census and transatlantic passenger records, they were able to piece together the sad tale of an interesting man.Servant livery coat worn by footman Sefton Patrick, 1921

Like many other footmen who worked at Biltmore, Sefton Patrick was an Englishman trained in domestic service recruited to work at Biltmore. He first appears on a passenger list from Southampton, England to New York in 1913. He was 29 years old, single, and his profession was listed as “steward.”

Soon thereafter he was hired by George Vanderbilt’s sister, as he shows up on the 1920 U.S. Census as a servant working in the New York home of William Seward and Lila Webb.

In 1921 Sefton Patrick began work at Biltmore House as a footman, or underbutler. It appears by all accounts that he was a hardworking, devoted member of the domestic ranks. In February 1922, however, he became ill with tuberculosis. At first he was cared for by a local doctor, and correspondence in the archives indicates that Edith Vanderbilt helped support Patrick by sending him monthly checks.

He recovered enough to come back to work in the fall of 1923, but he had a second “breakdown” in February 1924 and was admitted to the Stonehedge Sanitarium in Asheville. His condition was serious enough that estate superintendent Chauncey Beadle helped Patrick get a disability insurance policy. Biltmore continued to pay for his doctor’s bills and as well room and board at three different sanitariums.

monogrammed buttonMrs. Vanderbilt planned to employ Patrick “to take charge of her garden and grounds around her new home” once his condition improved. Patrick wrote to Mrs. Vanderbilt:
“I must thank you for your kind offers, received through Mr. Hopkins. It is really thoughtful that you should so consider my future… Am glad to say that I continue to feel well and hold my weight, so there is every reason to believe that I am making good progress and will eventually overcome it permanently. I am more than sorry that there seems little chance of me starting work in December but if I continue to improve I hope that I will be well enough in the spring… I sincerely feel that is my duty both to you, for giving me such an opportunity, and to Dr. Dunn who takes a personal interest in my care… I must thank you for your continued interest, it is a tremendous help, and a continual incentive for me to do my very best to get well and make a real cure.”

Sadly, Patrick’s condition did not improve. In 1926, he moved to New Mexico, where thousands of tuberculosis patients had traveled to seek treatment with its dry climate, high elevation, and sunshine.

In November 1927, Patrick wrote to Mrs. Vanderbilt’s secretary, William Ashby: “Glad to say I’m going on pretty well. Haven’t made such rapid progress as I had hoped but am getting over the danger period (Dr. Peters noticed that I slipped periodically) but have steadily improved so can feel encouraged that am on the way to permanent cure.”

A few months later, Patrick wrote to Beadle about some insurance matters. He noted, “I have more than a suspicion that Dr. Peters considers me a ‘chronic’ case though I refuse to look at it in that light myself. My argument is that if one can change for the worse—one can also for the better! I know it is a question whether I can recover sufficiently to return to my old occupation or any kind of physical work. That is the reason I now spend my mornings at school—I feel bookkeeping etc. should be handy in whatever line I may happen to work in the future.”crest button

Patrick continued to correspond with Beadle and Ashby throughout the year, always giving reports on his health in an upbeat manner and expressing confidence in an eventual cure. In a letter dated April 8, 1927, however, Patrick conceded: “My mother is 73 years old. Up until the time of my sickness I had visited her often. I had just returned from England previous to coming to Mrs. Gerry six years ago. I am glad to say she is in wonderful health but should anything happen it would be necessary for me to go and needless to say I would like to be with her before. . . . . . It is an event that I cannot contemplate but of course has been in my mind since this ‘curing’ has taken so long.”

By 1928 it is clear that Patrick’s health had deteriorated even more. In one of his last letters, he wrote, “Glad to say am pretty well though I’m 20 pounds lighter than when I got here and at present don’t walk. I feel once I can regain my appetite though I’ll pick up again.”

Death records indicate that Sefton Patrick died on December 26, 1928. He was laid to rest in Albuquerque, New Mexico.

Photos

Top right: Servant livery coat worn by footman Sefton Patrick, 1921.

Center: Close up of coat button showing George Washington Vanderbilt's monogram.

Bottom right: Close up of coat button showing the Cecil family crest.

Etched in stone: the façade of Biltmore House

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George Vanderbilt and his architect Richard Morris Hunt put careful consideration into each material used to construct Biltmore House. While the underlying walls are brick, the architect chose to add a striking warm stone façade of the house: a layer of limestone from the Hallowell Quarry in Indiana, the country’s richest quarry at the time and the same source for the stone used in Chicago’s 1885 City Hall.

Between February 1891 and February 1892, 287 train cars left Indiana carrying the limestone that would become Biltmore’s façade. Once it came into the depot in Biltmore Village, the stone was transported to the construction site by a narrow-gauge railroad track built specifically for that purpose. The first shipment arrived at the house on March 16, 1891.

Limestone blocks were stored in sheds and protected from the weather until they were ready to be cut and carved. To achieve the texture seen on the house today, the blocks were tooled by hand through a  process called crandalling. Skilled stonecutters cut shallow grooves into the surface of the stone, resulting in a fine, pebble-like surface that looks more elegant and reflects light more dramatically than unaltered limestone.

Once ready, the limestone blocks were lifted into place using wooden derricks powered by hand-drive, geared winches. The first block of stone was put in place in the west garden wall on June 8, 1891.

Although there’s no exact final count, estimates indicate that when the construction was complete, around 60,000 cubic feet of limestone adding up to 5,000 tons had been used in the project. The surface as it’s seen today reflects the beautiful effects of aging in the elements for more than 120 years.

Archival photo of some of the workers and a steam engine that built America's Largest Home

Top: Stonemasons’ shed, 1892, with Biltmore House under construction in the background.

Bottom: Workers and a steam engine on the Esplanade, 1892. Indiana limestone was shipped by rail directly to the Biltmore House building site.

A special bond

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Chauncey Delos Beadle began working at Biltmore as nursery supervisor under the direction of Frederick Law Olmsted in 1890—five years before Biltmore House and its surrounding gardens were completed. Beadle, who said he came to Biltmore for a month and stayed for a lifetime, lovingly supervised the estate grounds until 1950.

Chauncey Beadle, ca. 1906
Chauncey Beadle, ca. 1906

Ten years after arriving at Biltmore, Beadle and the other staff members helped George and Edith Vanderbilt welcome the arrival of their only child—a daughter named Cornelia Stuyvesant Vanderbilt. Later that same year, a cucumber magnolia tree (Magnolia acuminate) was planted in the child’s honor in the area of the estate that would come to be known as the Azalea Garden. According to one newspaper account,

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. 

A special bond

As a young girl, Cornelia developed a special bond with Beadle. He had become estate superintendent and was now responsible for the overall business management of the estate, as well as many of the Vanderbilts’ personal affairs—but he was also a trained botanist and horticulturalist who encouraged Cornelia to take an interest in plants and flowers from a very young age. Together, they undertook such activities as planting a flower garden for the child to tend.

When Cornelia was away travelling with her parents, Beadle wrote letters detailing the garden’s growth and often included pressed flowers for her enjoyment.

Here are excerpts from the charming letters Beadle wrote to Cornelia just before her sixth and seventh birthdays:

August 17, 1906 – To Cornelia in Paris, France:

“I promised you just as you were leaving Biltmore to send you some pressed flowers from your garden, that you may see some of the results of the seeds we planted last spring. Almost all of the seeds grew and thrived and, in particular, I wish you could have seen some large double sunflowers as large as breakfast plates … They were so large that I could not press them and I fear that before your return they will have faded and gone. The little package which I am sending you, however, contains some of the smaller flowers that were easily pressed and, perhaps, before your home-coming, I can send you another lot so that you may be able to enjoy the garden even though you were in Europe…”

August 14, 1907 – To Cornelia at Point D’ Acadie, the Vanderbilt’s home in Bar Harbor, Maine:

“I have sent you by mail a package containing a number of pressed flowers from your garden which you painstakingly planted and watered. Very many of the plants have made a splendid showing… In the package you will find handsome Larkspurs of various shades and mottled colors… and several other flowers that were in blossom…. You will find the names of the flowers written on the inside of the sheets of paper which contain them, and I am very sure that you will soon know them all by name and will be able to recognize them wherever you may see them growing…”

Keeping up a correspondence

George Vanderbilt passed away unexpectedly in 1914, and Edith and Cornelia began spending more time in Washington, DC where Cornelia attended The Madeira School. Beadle continued corresponding with the pair through the years, bringing Edith up-to-date on estate business and describing the gardens in great detail so both ladies could enjoy them even when they were far from home.

In a letter dated April 14, 1922, Beadle wrote to Cornelia,

“The tulips in the walled garden are so glorious that we are trying out an experiment of sending you a box today by express for Easter. We shall hope they will bring you something of their original beauty and charm to make Easter even more wonderful. Spring is very much advanced here, even the yellow rambler roses are opening.”

Beadle’s gift

In 1923, Cornelia met the Honorable John Francis Amherst Cecil, a British diplomat who had been transferred to Washington, DC after posts in Egypt, Spain and Czechoslovakia. John Cecil came from a very prominent British family, and was a direct descendant of William Cecil, the first Lord Burghley, who served Queen Elizabeth I of England.

Cornelia and John announced their engagement later that year, and set a wedding date for April 29, 1924. Although Beadle was in Florida and unable to return for their wedding, he sent a very special gift that commemorated their mutual love of the natural world: fresh orange blossoms from his own garden. Our archival records indicate that Cornelia placed some of the fragrant flowers on her veil and also decorated the toe of each of her wedding slippers with a single, perfect blossom.

Cornelia Vanderbilt’s wedding portrait upon her marriage to John Francis Amherst Cecil, April 1924
Cornelia Vanderbilt’s wedding portrait upon her marriage to John Francis Amherst Cecil, April 1924

Images

Top: Chauncey Beadle at Biltmore in 1906

Middle: Cornelia Vanderbilt photograph; 1904

Bottom: Cornelia in her wedding dress at the bottom of the Grand Staircase in Biltmore House

A fashionable lady

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From her debutante days onward, Edith Vanderbilt was a fashionable lady who enjoyed wearing some of the most elegant styles designed by the exclusive fashion houses of the era.

Standing portrait of Edith(Right) Standing portrait

In the late 1800s, standing portraits like this one were popular because a standing pose allowed a lady to display all the details of her beautiful costume to best advantage! Note the extraordinary length of lace falling from the delicate floral trim at Edith's shoulders (the floral design is also echoed in her sweeping skirt) and the height of her feathered hair ornament.

Young Edith

(Left) 1900

As a young mother, Edith Vanderbilt's style of dress reflected a bit more restraint than her glamorous debutante and engagement gowns, but there were still rich layers of details to keep the style engaging. Notice the striking combination of Edith's elegant sleeves layered in stripes and dots, the lavish lace bow at her throat, and the dangling brooch pinned to her bodice.

Edith wearing a locally created suit

(Right) March 1907

On this date, the New York Times featured a front-page story on Edith Vanderbilt wearing a gown of mountain homespun cloth woven by artisans who worked for Biltmore Industries–a business the Vanderbilts developed to provide economic support for local crafters in the community. Edith Vanderbilt always chose examples of current styles to flatter her tall, slim figure, and this sleek suit is no exception. In addition to enjoying the elegant ensemble, Edith used it as an attractive tool to help influence her social connections and push sales of Biltmore Industries merchandise.

Edith in 20s fashion

(Left) A fashionable lady

Throughout her life, Edith Vanderbilt would continue to be celebrateded for her fashion sense and good taste. 

(Top) Featured blog image 

A 1911 portrait of Edith Vanderbilt painted by Italian artist Giovanni Boldini, known for his glamorous renderings of notable members of society. This portrait hangs in the Tapestry Gallery at Biltmore House, just outside the entrance to the Library.

Rosita: The Lady in Red

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Rosita, by Spanish painter Ignacio Zuloaga (1870–1945), is one of the most eye-catching works in George Vanderbilt’s collection and represents his interest in Spanish art, which gained popularity in the last years of the 19th century.

Lounging on a divan draped with a mantón de manila (a flamenco dancer’s accessory), Rosita is wrapped in a white fringed shawl with a red floral flamenco skirt billowing out. She leans on her elbow and smiles, a huge red flower in her dark hair. Rosita is confident: a model at ease with being an object of beauty. So, how did this captivating woman come to stay permanently at Biltmore?

Spanish artist Ignacio Zuloaga, ca. 1925
Spanish artist Ignacio Zuloaga, ca. 1925

A celebrated artist

In 1913, Zuloaga, known as “The Great Basque,” was living in Paris where his reputation had grown since his first exhibition in 1890. He came from a family of artists and his great-grandfather was a contemporary of Goya, who Zuloaga cited as one of his major influences.

A rising star in the art world by the turn of the century, Zuloaga was known for his portraits, especially those of women with a great deal of personality. He also had a reputation for hosting memorable Parisian parties attended by artistic luminaries of the day, such as the famed conductor and cellist Pablo Casals.

“To draw another connection to Biltmore’s collection, we know that he was respected by John Singer Sargent, who actually wrote the introduction to a 1914 catalog of Zuloaga’s work on display in Boston,” says Meghan Forest, Biltmore’s Associate Curator.

Charles and John Kraushaar in their New York gallery. Photo courtesy of Kruashaar Galleries.
Charles and John Kraushaar in their New York gallery. Photo courtesy of Kruashaar Galleries.

Modern art, circa 1914

In January 1914, an American exhibition of Zuloaga’s paintings was held at the prestigious Kraushaar Galleries at 260 Fifth Avenue in New York. The show was reviewed in the February issue of Art and Decoration, a leading art journal of the time:

“Mr C W Kraushaar, following up on his success of last season, showed for two weeks eight pictures by Ignacio Zuloaga, the greatest realist of the very realistic Spanish school.”

The article goes on to say that “his Rosita, in the pattern of her shawl and of the couch on which she reclines, is masterly in painting.”

According to Meghan, recent research on their correspondence indicates that George Vanderbilt did in fact attend the exhibition. He wrote to Kraushaar in January 1914 offering to purchase the painting and requesting the frame in which it is displayed today inside Biltmore House.

Rosita finds a home at Biltmore

After George Vanderbilt’s death, Edith Vanderbilt paid for the painting and requested that it be sent to a museum rather than to Biltmore. In 1915, Rosita entered the collection of the National Museum (now the Smithsonian American Art Museum) on loan. There she stayed until 1924, when Cornelia Vanderbilt Cecil and her husband, the Honorable John Francis Amherst Cecil, visited to view the painting and requested its return to Biltmore. The painting arrived in December 1924, with Rosita taking her place as one of Biltmore’s most intriguing permanent residents.

While Rosita was not at Biltmore during George Vanderbilt’s lifetime, our records indicate that her first placement was the Second Floor Living Hall—a decision made by Cornelia and John Cecil. She was later displayed in the Billiard Room in the 1970s before taking up residence in the hallway outside of the Louis XV Suite in more recent years.

This animation shows Rosita’s difference in appearance before and after conservation treatment in 2023.

Conserving Rosita

In 2023, Biltmore’s in-house conservator, Nidia Navarro, completed the conservation treatment of Rosita’s ornate frame while the painting itself was sent to Ruth Barach Cox for conservation. The painting conservator worked to remove old, discolored varnish and overpainting that was added during past conservation treatments and restore the vibrant colors and brush strokes to their original splendor. Early photos of the painting and Cox’s inspection revealed that the original work featured body hair in the sitter’s armpit, a common practice around the world in the early 20th century. Cox’s treatment returned the painting to its original appearance. 

Be sure to look for the recently conserved Rosita painting on display in the hallway outside of the Louis XV Suite on your next visit to Biltmore House.

Edith Stuyvesant Vanderbilt: a very charming and accomplished girl

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In honor of Edith Vanderbilt’s birthday on January 17, we’d like to share a glimpse into her childhood and young adult years before she married “the most eligible bachelor in the world.”

In April 1898, an article appeared in the New York Herald announcing the engagement of George Washington Vanderbilt to Edith Stuyvesant Dresser. Much attention was given at the time to George Vanderbilt’s family connections and the fact that he had long been considered one of the most eligible bachelors in American society. But what of his fiancée, Edith?

Other than basic facts about the identity of her parents and the marital status of her siblings, little more was said about Edith other than that she was “a very charming and accomplished girl.”

Childhood adventures

Edith was born in Newport, Rhode Island in 1873. She was the fourth child of Colonel and Mrs. George Warren Dresser, who was a descendant of the last Dutch governor of New York. The Dressers divided their time between Newport and their New York residence, and much of what we know about Edith’s childhood comes from an unpublished narrative written in 1943 by her younger sister Pauline.

According to Pauline, the Dresser children enjoyed a wide variety of pets—including Edith’s 19 turtles that lived in the backyard—and a wide variety of adventures such as roller skating in their dining room while it was being repaired for water damage.

Growing up in Newport

Both of Edith’s parents both passed away in 1883, but the children’s elderly maternal grandparents stepped in to raise the five siblings who ranged in age from six to nineteen. The young Dressers moved to their grandparents’ home in Newport, and a governess named Mademoiselle Marie Rambaud was added for the girls. Pauline’s memoirs mention how Mademoiselle Rambaud had the Dresser girls adhere to the following regime:

“Two hours’ exercise, rain or shine, and early bed hours… We were not allowed to get up until seven… half an hour for dressing, then, if we hurried sufficiently, a chance to run outdoors for a few minutes … before a hasty glass of milk and a roll, which preceded the hour of piano practice from 7:45 to 8:45. A quarter of an hour for family prayers in my grandmother’s room…then breakfast at nine in the dark dining room…, and lessons from 9:30 to 1:30 in winter, and 9:30 to 11:30 in summer. Lunch at 1:30, then another hours’ practice from 2 to 3 – walking every day from 3 to 5. Supper at 5:15 –… and bed at 6:15 in winter and summer, until I was fourteen years old: then only, was I allowed to dine with the family and go to bed at 8:00 P.M….

But life in Newport wasn’t all hard work, and Edith and her sisters were encouraged to enjoy outdoor pursuits such as horseback riding, carriage driving, and swimming. Summers were particularly lighthearted as the Dresser girls, accompanied by their governess and their pet collie Paddy, walked to the beach three times a week, returning in a public horse-driven bus. Apparently Paddy loved to swim so much that he would visit the beach on his own, jumping into a cab for the return trip home. The girls would look out to see what appeared to be an empty cab pull up to their house, and out would jump Paddy, leaving a laughing cab driver behind.

The Paris years

Following the death of their grandmother in 1892, Edith and her sisters spent some time traveling, returning to Newport for a few months before taking an apartment in Paris for the next several years.

In 1896 and 1897, the Dresser girls vacationed for the summer in the French town of Dinard. Still pet lovers as they had been from childhood, they acquired two dogs in France – “Mlle Follette,” who would “die for France,” standing on her hind legs then falling over as though felled by an enemy’s bullet, and Bluette, a bulldog. Time in Dinard was light-hearted and fun, with most of their friends in attendance. They “picnicked and swam and danced and enjoyed themselves hugely.”

After their last summer together in Dinard, Edith and her oldest sister Susan stayed in Paris while Natalie and Pauline Dresser returned to Newport for the first time in four years. It was a time of new beginnings for each of them as the Dresser sisters began to meet and fall in love with the gentlemen they would one day marry.

Edith Vanderbilt’s legacy

Without a doubt, Edith Vanderbilt’s childhood and young adulthood certainly molded her into much more than “a very charming and accomplished girl.” The development of her striking personality traits such as intelligence, sophistication, an outgoing nature, a love of adventure, the ability to relate to people of all backgrounds and cultures, resilience in the face of difficulty, and strong commitment to family make her a woman we continue to admire.

Pictured above, right: the Dresser girls with their grandmother (L-R: Natalie, Edith, Grandmother Susan Fish Le Roy, Pauline, Susan)

Pictured above, left: Dresser girls in Dinard, 1896 or 1897 (L-R: two servants, Edith, Mlle. Rambaud, Pauline, Susan, Natalie; Bluette the bulldog in  foreground & Mlle. Follette to the left of the bicycle)

George Vanderbilt and His Automobiles

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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.
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.
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.
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.
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.
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

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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

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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?”

A family enjoys Christmas at BiltmoreHow 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.

Children looking up at Biltmore Christmas decorationsThe 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.

Biltmore employee Christmas party, 1916“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)  

Welcoming Edith Vanderbilt to her new home

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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.
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.
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.