George Vanderbilt as a Father

Father’s Day is a time to celebrate the unique bond between fathers and children, and here at Biltmore we’re revisiting some of our favorite moments that George Vanderbilt and his daughter, Cornelia, shared over the years.

George was in awe of Cornelia as a baby, as we can see in the main photo. Here he’s holding her on the Loggia a month after her birth in 1900. The tender and bemused look on his face says it all!

As Cornelia grew, she began to travel with George and her mother, Edith, on their many voyages to Europe and around the United States. In the photo above, Cornelia wears a sporty traveling outfit as they sit on the deck of a boat, cozy in blankets, as sea companions.

Back at home at Biltmore, George accompanied Cornelia out to splash in the fountain on the Esplanade one summer day. He remained dressed, as dapper as ever, while Cornelia was ready to swim in a cap and bathrobe.

George was a loving father, and he and Cornelia enjoyed many adventures together. We hope that you and your family have a great Father’s Day.

Celebrate Father’s Day at Biltmore

If you’re in the neighborhood this Sunday, all dads receive free admission on Father’s Day with the purchase of a youth or adult ticket at the Reception & Ticketing Sales Center. See all admission ticket specials.

Today, January 17, is the 140th anniversary of Edith Vanderbilt’s birthday. In celebration of her life and legacy, we thought it would be fun to share some little-known stories about her.

 One of my favorites is a very glamorous Edith dressed as a peacock for a party in the early 1920s, as seen in the main photo above. A lover of costume or ‘fancy dress’ parties her whole life, Edith entertained often at Biltmore and clearly had a flair for the dramatic. In preparation for a party planned for August 1922, she contacted the legendary Ziegfeld Follies in New York to inquire about renting a ‘White Peacock’ costume made famous by a showgirl known as Dolores. It appears that Edith had little luck in obtaining the outfit and resorted to having her own peacock costume made a year later. It’s not completely clear at what event Edith chose to strut her stuff, but we suspect the celebration was held in honor of her daughter Cornelia’s 23rd birthday.

Biltmore’s costume collection includes seed pearl jewelry and glass bead hair ornaments which were worn at other fancy dress parties during the 1920s, and a dazzling metallic mermaid costume that will go on display in the exhibition, “The Vanderbilts at Home and Abroad” this spring in Antler Hill Village.

Edith’s love of drama began at an early age. As a child, she and her sisters frequently played charades and imaginative games of “house.” Edith and her youngest sister, Pauline, also loved witnessing the theatrical transformation of Newport’s grand interiors that were typical for Gilded Age entertaining. In a memoir, Pauline recalled helping with preparations for lavish dinner parties and then taking delight in spying on the guests!

”…In August … we children would be kept busy wiring flowers for enormous centerpieces, for those were the days when tables were overloaded and great satin ribbons lay on the table cloths; extending from one solid bed of flowers to another. The blossoms of pink hollyhocks were fastened on toothpicks and pierced into moss-filled flat baskets joined by huge bow knots of pink satin ribbons which wound their way amid silver tankards and baskets of hothouse fruits. Edith and I used to climb out on the tin roof over the dining room and peer down through the sky-light at the guests, scuttling back to bed when the roof creaked and we feared detection. Of course the voices below drowned any noise we might have made, but we didn’t realize that…”

In her teens and early 20s, Edith lived in Paris and was a member of an amateur group that frequently hosted “theater parties.” If the peacock photograph is any indication, Edith’s penchant for drama was most pronounced during the Roaring Twenties, a time when many women felt a heightened sense of independence and freedom to express themselves creatively.

Edith hosted a number of masquerade balls at Biltmore House, as well as tableaux vivants, a popular form of entertainment in the late 19th and early 20th centuries. French for “living pictures,” tableaux vivants were elaborate productions in which costumed participants would pose in the guise of mythological or literary figures, famous paintings or individuals from history. These amusing spectacles were enhanced by live music, props and dramatic lighting.

No matter the occasion, it seems that Edith always took pleasure in finding ways to enhance the everyday. Her spirit lingers on, inspiring so much of what we do at Biltmore.

Thank you, Edith – and Happy Birthday!

To mark the turning of 1901 into 1902, George and Edith Vanderbilt hosted a house party for 20 of the movers and shakers of Boston and New York society. Among the revelers that year were Larz Anderson, an American diplomat who had served in Rome and London, and his wife Isabel, an author of children’s books and travelogues.

To commemorate the week-long festivities, Larz left an illustration in the Vanderbilts’ “Nonsense Book,” a bound leather volume full of notes and scribbles, rhymes and limericks inspired by one of George Vanderbilt’s favorite authors, Edward Lear. With entries from many of the Vanderbilts’ guests, the Nonsense Book gives us a glimpse into the various entertainment activities held at Biltmore.

Larz’ doodle is one of my very favorites in the “Nonsense Book.” Drawn as if it were a scrap from George’s print collection, the top reads: “For the Dürer Room – In Memory of New Years Week MCMII.” The “Dürer Room” refers to a den off of the Library where George Vanderbilt displayed many of his prints by the famed artist Albrecht Dürer, a brilliant German virtuoso of the late 1400 and early 1500s.  Dürer’s prints, including The Triumphal Arch of Maximilian which now hangs in the Music Room, are museum-quality masterpieces that one wouldn’t expect to find in a private home.

Larz was impressed with Vanderbilt’s collection of engravings and was struck by the design and layout of Biltmore House, reporting to his mother by letter that “well, we all agree it is the finest thing in America – and one of the finest in the world….” Their week started off with several days of bad weather, but a few days into their stay, Larz wrote “today is beautiful… the air is magnificent and yesterday I had a ten mile climb over the mountains.”

Apparently, Larz also got in a good bit of bicycling during his stay. Echoing Dürer’s artistic style, Anderson draws himself astride a bike peddling across the estate and past the Esplanade.  A small figure labeled “AD” for Albrecht Dürer follows a path toward the eastern façade of Biltmore House.  Anderson labeled the cartoon of himself with his initials, “LA,” in the same distinctive script that Dürer used to sign his works. Larz’s doodle documents the mountainous scenery he enjoyed firsthand and the fine weather that finished out the first week of their new year. And, quite amusingly, he references several of the Vanderbilt family’s St. Bernards, including Cedric and his mate Snow, who presumably could often be found flopped down on Biltmore’s gleaming herringbone floors in a manner resembling a polar bear rug.

An iteration of the original “Nonsense Book” is still in use today. It resides in the lobby of the Inn on Biltmore Estate, and our guests are welcome to sign it and describe their adventures during their stay.

About the Photos

Top: Larz Anderson left his amusing mark in the Vanderbilt “Nonsense Book,” detailing his frequent bicycle rides around the estate.

Inset: The original “Nonsense Book,” from the Vanderbilt archives.