Best-kept secrets: Biltmore’s alley gardens

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With acres of vivid colors and lush plantings, the gardens of Biltmore are so breathtaking that some guests never venture inside the Conservatory during the summer months. According to Jordana Chalnick, Conservatory Horticulturist, however, those who stay outside are missing out on some very special displays in the “back alleys” of the Conservatory.

A working conservatory

“Biltmore’s Conservatory was originally designed to be a functional workspace for growing and nurturing plants as well as an indoor garden space for guests,” said Jordana. “We continue to use it for both purposes today, and we also create intriguing displays that draw visitors through the Conservatory and into the alleys behind it.”

Jordana has been with Biltmore since 2006, putting her horticulture degree to use first in the Azalea Garden and then in the Conservatory. She became Conservatory Horticulturalist in 2013 and has been instrumental in creating the displays that make the Conservatory a must-see during any Biltmore visit.

Alleys of the Conservatory

“In the mid-1990s, there were just a few hanging baskets and some of the larger trees in the alleys,” Jordana said. “Gradually, the staff began lining the alley walls with plants and then over the years adding under-plantings to the larger pots. The alleys have definitely evolved from what they were initially to the more designed and elaborate displays we do today.”

Heating up and keeping cool

Jordana noted that there are actually two alleys—one between the cool room and the sitting room and one between the hot room and the sitting room.

This year, the cool alley, which was designed by Conservatory Gardener Kathryn Marsh, features fragrant plants that create a shady respite from the sun during the hot summer months. Having all the different fragrances makes it a nice space in which to take break and relax for a while.

The hot alley features water plants using dwarf versions of many of the species in the Italian Garden.

“I’ve always liked the idea of displaying the water plants in a way that guests can have closer access to them than they do in the Italian pools,” Jordana said. “I took lots of inspiration from pictures of gardens in Bali and Thailand where they incorporate water plants seamlessly into the landscape as opposed to having a special area for them.”

Alley installation

As far as installing the alleys, the Conservatory crew does as much as possible ahead of time. They received most of the cool alley’s fragrant plants from Florida in March, and the dwarf lotus plants for the hot alley were stored in the Italian Garden pools until early June.

Lotus Flower in Italian Garden Pool

“We already have a general idea of which plants will go in which alley, so we will generally load up a truck load for one alley, haul it up and unload it,” said Jordana. “We have one reserve worker who helps us and we definitely get a lot of help from everyone in Historic Gardens, since our crew is pretty small and installing the alleys is a huge project.”

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Hibiscus Flower

Now that the alley plantings are installed, the Conservatory crew will maintain them throughout the summer, watering, grooming and deadheading as needed. The alleys will stay in until around mid-September when the plants need to start transitioning back to the greenhouses for winter.

“I love my job,” Jordana said, “because I get to use my creativity in designing displays as well as using all of my horticultural knowledge to keep plants happy and healthy.”

6 Biltmore Rooms Named After Artists

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Vanderbilt was an avid print collector who purchased more than 1,400 prints in his lifetime. Not only did he have personal friendships with leading artists of the era, he even named some of the rooms in his home after artists where their work was on display. Below are just a few of the rooms inside Biltmore House with names inspired by artists and how guests can see these on their tour.

Claude Room

This room was named after one of George Vanderbilt’s favorite artists, the French painter Claude Lorrain. One of the masters of 17th-century landscape painting, Claude presented nature as harmonious, serene, and often majestic. The prints on this room’s walls are after Claude Lorrain’s paintings. (See it on the winter tour rotation.)

The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette.
The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette.

Earlom Room

This room was named for the English engraver Richard Earlom. Vanderbilt purchased most of the prints in this room and in his collection from H. Wunderlich and Company in New York. (See it on the Upstairs-Downstairs tour.)

Raphael Room

Highly detailed engravings after the Italian Renaissance artist Raphael Sanzio d’Urbino add interest to the room’s understated décor. (See it on the Upstairs-Downstairs tour.)

Morland Room

Named for the English painter George Morland, this bedroom attracts attention with exotic Indian-style fabrics. The bed draperies are exact reproductions of hand-painted originals that adorned the Italian villa where George and Edith Vanderbilt honeymooned in 1898. (See it on the summer tour rotation.)

Van Dyck Room

Decorated in the Colonial revival style of the late 19th century, this room features prints after paintings by the 17th-century artist Anthony Van Dyck. (See it on the summer tour rotation.)

Watson Room

This room was named for the engraver James Watson. A close-up of his 1769 mezzotint after a painting by Francis Cotesand is the top photo in this blog. Fun fact: This room is the only bedroom with twin beds. (See it on the summer tour rotation.)

Everything’s Coming Up Rosés!

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Have you ever wondered how rosé wines are created?

Known as rosé in French, rosado in Spanish, and rosato in Italian, rosé is one of the oldest styles of winemaking because—in its simplest form—it involves leaving crushed red grapes together with their skins for a certain amount of time.

Rosés can range from palest pink to deep red, depending on the varietal and how long it stayed in contact with the skin.

3 main ways to create rosés:

• Saignée
When a red varietal is crushed, the first juice is drawn off and aged separately as a rosé. This process results in very fine rosés and also serves to intensify the flavor of the original red varietal.
• Maceration
A red varietal is crushed and the skins are left in contact with the fruit for up to 24 hours, depending on the desired color and flavor of the final product. This is the most common production technique for rosés and produces excellent wines, including our Biltmore rosés.
• Blending
Red and white juices are blended to create a rosé. This process is used mainly for lower-quality wines, although some outstanding sparkling rosés are created in this manner.

Where did rosés originate?

The world’s earliest red wines were probably closer to rosé than modern red wines because it was not considered desirable to leave the grapes in contact with the skins for more than a day.

Over time, Europe would become the primary producers of rosé wines, but that changed in the early 1950s as rosés were successfully introduced into American markets and emerging California wineries began creating their own versions.

By the 1970s, rosé was often referred to as “blush” wine in the U.S., and though wildly popular, the style gradually became associated with sweeter, less-desirable blended wines. Enthusiasm for rosé began to wane.

Rosé renaissance

Today, rosé wines are enjoying a renaissance as winemakers and consumers explore a range of options from traditional dryer varietals such as Grenache, Pinot Noir, Cabernet Sauvignon, and Syrah to semi-sweet offerings including White Zinfandel and sparkling Moscato versions.

Designed to be served chilled, modern rosés are excellent for sipping on their own and they also partner surprisingly well with eclectic fare such as spicy Asian cuisine and pizza.

Biltmore rosés

At Biltmore, we continue to explore new styles of rosés as our consumers’ palates evolve and new trends arise.

New for 2019, try our Biltmore Reserve North Carolina Rosé. Pale salmon in color, it features a delightful aroma with notes of strawberry, watermelon, honey, and lime. Semi-sweet and refreshing with flavors of kiwi and honeydew, it pairs well with spicy sausage, blackened chicken, and black bean burgers.

In addition, savor delicious options like our long-time favorite Biltmore Estate Zinfandel Blanc de Noir, which is vibrant and crisp with sweet tropical fruit aromas and delicate berry flavors, or our elegant and refreshing Biltmore Estate Dry Rosé with a subtle, fruit-forward bouquet followed by layers of delicate berry flavors.

For a sparkling wine as delicious as it is beautiful, try our coral-hued Biltmore Estate Blanc de Noir crafted from Pinot Noir grapes in the traditional méthode champenoise.

A Great Camp in the Great Outdoors

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In the late 1800s, it was fashionable for families like the Vanderbilts to have a getaway “great camp” or lodge in the Adirondacks so that they could enjoy outdoor activities such as  fishing, hunting, and boating. With Biltmore House complete, George Vanderbilt was able to focus on creating a similar getaway lodge so that family and friends could enjoy the beautiful, remote wilderness that comprised much of his 125,000-acre estate in Western North Carolina. Photo above of Buckspring Lodge, ca. 1920; donated by Mrs. William Todd Ashby.

Buckspring porch

Richard Howland Hunt (son of Biltmore architect Richard Morris Hunt) designed such a camp structure completed in 1896 and named Buckspring Lodge. Located on Mount Pisgah about 20 miles from Biltmore, the lodge was made from chestnut, yellow poplar, and hemlock logs and consisted of three connected buildings; a main lodge, kitchen, and dining building. Later, an assistant ranger's house was built in 1900, with a stable and additional four-room house added in 1903. Perched on the side of the mountain, Buckspring Lodge afforded guests spectacular views of the pristine wilderness. Photo above, ca. 1920; donated by Mrs. William Todd Ashby.

Buckspring fireplace
In today’s terms, Buckspring Lodge would probably be described as “rustic elegant” in design. Inside, there were wood-burning fireplaces. Eventually the lodge was equipped with electricity, telephone service, indoor plumbing, and hot water, all powered by onsite sources. Outside, there was an orchard, tennis and croquet courts, garden, and beehives. In the summers, sheep grazed on the open land at this high elevation, and a Jersey cow was sometimes kept here when the Vanderbilts were in residence. Photo above, ca. 1920; donated by Mrs. William Todd Ashby.

Buckspring exterior

In 1910, a major construction project was undertaken to build a road from Stoney Fork in the Hominy Valley west of Asheville to Buckspring Lodge so it could be accessed by motor vehicle. Mr. Vanderbilt purchased the old Stoney Fork log school and church building in 1911, and had it rebuilt at the lodge for a guest house that later became known as the “Honeymoon Cottage.” In 1912, a log cabin knowns as the ranger's house was erected with hewn logs from three cabins located on Vanderbilt property elsewhere. A full-time ranger and caretaker lived at Buckspring, and a cook and other staff came to stay while the family was at the lodge.

​After George Vanderbilt’s death in 1914, Edith sold around 90,000 acres of land to the U.S. government for the creation of Pisgah National Forest. But she retained Buckspring Lodge and nearly 500 acres surrounding it, and the family continued to enjoy this retreat for decades. When the Blue Ridge Parkway was being developed in the 1950s, Buckspring Lodge and its surrounding property was sold to the state of North Carolina and then transferred to the U.S. Department of the Interior to be incorporated in the Parkway property.

Restoration of the lodge proved to be too costly for the Park Service, and it was razed in 1961. Robert C. (Bob) Allen procured logs and materials from the Ranger's Cabin and erected a log cabin in Asheville's Royal Pines neighborhood in the early 1960s. The Allen family, represented by Ernest H. Allen and his sons, Bob and William E. (Bill) Allen, were  longtime estate residents. Ernest and Bill both served as farm managers for decades and Bob drove a truck for Biltmore Dairy. Bob and his wife Phyllis lived in the Royal Pines cabine until his death in 1990. Upon Phyllis’ passing in 2014, Bob’s children Dick and Susie Allen inherited this historic cabin and contributed it, plus many furnishings, to Biltmore in memory of the Allen family.

 

Outdoor Adventure CenterIn 2015, Biltmore dismantled the cabin and carefully reassembled it piece-by-piece on the estate. It now serves as the Outdoor Adventure Center in Antler Hill Village, where guests can arrange outdoor activities including fly-fishing lessons, trail rides, Segway rides, and much more. Stop by to see this cherished part of Biltmore’s history, and plan your own adventures in our 8,000-acre backyard.

Springtime Project: Tussie Mussie

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Learn how to create your own tussie mussie, inspired by fashions and the language of flowers during Queen Victoria’s reign (1837-1901). During this era, flowers were considered a more modest adornment than jewelry for a young woman. A tussie mussie was sometimes tied with a ribbon, but could also be carried in a cone-shaped, decorative silver holder. They’re still used today for some bridesmaid bouquets.

Creating a Tussie Mussie

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1. Start with the bushiest flowers first and add in additional flowers in a crisscross pattern. Rotate arrangement with each new flower added. 

2. Vary the height of each flower and remove excess greenery along the stems. Cut long stems for a petite and feminine look. 

3. Measure ribbon at 18-24 inches, cut and wrap around base. Tie a traditional bow and cut tails by folding the ends of each ribbon in half.

4. Find the perfect spot to display your arrangement! Whether used at a placesetting, or as an accessory, these simple arrangements are a beautiful way to incorporate fresh spring flowers into your decor.

Wedding gowns fit for a queen

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From Queen Victoria to Princess Diana to the Duchess of Cambridge, royal wedding dresses have set fashion styles for nearly 200 years—everything from the color of the gown itself to flowers.

Several examples of royal attire as portrayed in movies are included in our exhibition, Fashionable Romance: Wedding Gowns in Film, including Queen Elizabeth’s 1923 gown and Wallis Simpson’s famous 1937 dress. Let’s take a look at the famous royals whose gowns have left their mark on the fashion scene. 

FEBRUARY 10, 1840
Queen Victoria marries Prince Albert at the Chapel Royal, St. James’ Palace in London.

In the mid-1800s, white was the color of mourning; red was a more popular color for weddings, which made it remarkable when Britain’s young queen wore a white dress for her ceremony. Details of Queen Victoria’s bridal ensemble were publicized in newspapers and in souvenirs, widely reinforcing the idea that wedding gowns—particularly for European and American brides—should be white.

Victoria’s silk satin court dress was embellished with British lace, establishing the tradition of supporting local manufacturers that royal British brides still follow. Instead of a crown, she wore a wreath of artificial orange blossoms with her lace veil, which also set the standard for generations of brides to come. See a painting of Queen Victoria in her wedding dress from the Royal Collection Trust.

APRIL 26, 1923
Albert, Duke of York (later George VI) marries Lady Elizabeth Bowes-Lyon at Westminster Abbey in London.

Best known today as the Queen Mother who died in 2002 at the age of 102, Lady Elizabeth’s wedding gown and veil were very much in the style of the 1920s; Vogue magazine described her gown as ivory chiffon moiré with bands of silver lame embroidered with seed pearls suggesting an Italian medieval robe. The way she wore her veil—combined with a wreath in a capped fashion—was on trend for the decade, which can also be seen in Cornelia Vanderbilt Cecil’s 1924 wedding photographs. See the Duchess of York’s official wedding portrait from the Royal Collection Trust.

Lady Elizabeth’s wedding also started three traditions for British royal brides:

  • On her way to the altar at Westminster Abbey, she left her bouquet of white roses and heather at the grave of the Unknown Warrior in memory of her brother, who was killed in World War I. Though her gesture was spontaneous, each royal bride since has left her bouquet at the tomb after the ceremony to honor the fallen.
  • Her wedding ring was made of Welsh gold—cherished due to its scarcity—given to the couple by the people of Wales; this tradition has continued through three generations.
  • Prior to Elizabeth and Albert’s 1923 wedding, royal ceremonies were private. Their wedding, however, was filmed in detail and shown in newsreels around the world, starting a fashion for royal wedding media coverage that continues today.

JUNE 3, 1937
The Duke of Windsor marries Wallis Simpson at the Château de Candé, Monts, France.

American socialite Wallis Simpson created the craze for her signature color “Wallis blue” when she married the former Edward VIII, who gave up the throne for his love. The nipped-at-the-waist dress and jacket created by Mainbocher reportedly was colored to match her eyes, and the ensemble showcased the designer’s incredible attention to detail; even the matching gloves created from the same blue silk crepe were specifically designed to accommodate her wedding ring. The Duchess of Windsor, known for fabulous jewelry and designer clothing, later donated her wedding dress and jacket to the Metropolitan Museum of Art. Unfortunately, the dye has faded over time, causing the dress to lose its famous “Wallis blue” color.

NOVEMBER 20, 1947
Princess Elizabeth marries Lieutenant Philip Mountbatten at Westminster Abbey in London.

British couturier Norman Hartnell was selected for the prestigious commission of designing the wedding dress for the future Queen. Post-World War II shortages meant Princess Elizabeth had to purchase material for her gown using ration coupons.

Hartnell’s design blended formality and youth in a satin dress and 15-foot circular court train. The skirt was embroidered with traditional floral motifs and decorated with crystals and 10,000 seed pearls imported from the U.S. See the official wedding portrait from the Royal Collection Trust.

 Elizabeth’s wedding dress has been seen as inspiration for both Grace Kelly’s gown worn at her 1956 marriage to Prince Albert of Monaco as well as Catherine Middleton’s gown worn at her 2011 marriage to Prince William.

APRIL 18, 1956
Prince Rainier III marries Grace Kelly in Monaco.

As befitting her position as one of Hollywood’s leading ladies before becoming Her Serene Highness Princess Grace of Monaco, Grace Kelly’s extravagant wedding gown was designed by Helen Rose, costume designer for Metro-Goldwyn-Mayer and sewn by the MGM wardrobe department in California.

The wedding itself was one of the first big royal media events. Prince Rainier gave MGM permission to film the ceremony, which was reportedly watched by 30 million worldwide at a time when many homes did not even have a television. More than 1,500 reporters arrived to cover the wedding—more than covered all of World War II—overwhelming the principality’s population of 23,000. Prince Rainier had to call in the French riot police to maintain order.

Grace’s dress for the religious ceremony is considered one of the most elegant bridal gowns in the past century. It was handmade from 125-year-old Brussels rose point lace, silk taffeta, peau de soie, tulle, and seed pearls; its high neck, lace fitted bodice, and pleated waist were major influences on bridal designs of the era. Three petticoats gave the bell-shaped billowing skirt its distinctive look. Her tulle veil measured 90 yards, and was attached to a Juliet cap adorned with seed pearls and orange blossoms.

Princess Grace donated her gown to the Philadelphia Museum of Art in 1956, where it was displayed during a 2006 exhibition. Elements from the dress are thought to be inspiration for Catherine Middleton’s bridal gown worn at her 2011 marriage to Prince William as well as for numerous fashion designers, including the Marchesa 2015 spring bridal collection.

JULY 29, 1981
Prince Charles marries Lady Diana Spencer at St. Paul’s Cathedral in London.

No question—when you think of iconic wedding dresses of the past century, the future Princess of Wales immediately comes to mind. Her gown successfully transformed the young Lady Diana Spencer into a fairytale princess. 

Lady Diana’s dress was designed by David and Elizabeth Emanuel, who wanted to make the most of the royal wedding’s worldwide spotlight; estimates put the television audience at 500 million viewers. Their creation featured a full skirt and sleeves of ivory silk taffeta, with a double-ruffled collar of pearl-encrusted lace over taffeta. But the centerpiece was the longest train in royal history—25 feet of British silk taffeta, tulle, and netting edged with beaded lace. Diana’s romantic appearance inspired wedding dresses for nearly a decade until taste shifted to slimmer silhouettes.

APRIL 29, 2011
Prince William marries Catherine Middleton at Westminster Abbey in London.

The dress that the future Duchess of Cambridge wore at her wedding to Prince William in 2011 remains a favorite with brides. According to published reports, Kate Middleton expressed her desire to combine modernity with tradition in her gown, designed by British designer Sarah Burton for Alexander McQueen.

The result was an exquisite ivory and white satin ballgown dress featuring a fitted waist, long lace sleeves, and floral motifs adorned with hand-appliqued British and French lace. The flowing skirt had soft pleats and a nine-foot train. Topping her ivory silk tulle fingertip veil—also embroidered by the Royal School of Needlework—was a Cartier “halo” diamond tiara lent to Kate by her future grandmother-in-law, Queen Elizabeth II. The entire wedding ensemble was exhibited at Buckingham Palace a few months after the wedding.

Biltmore wines capture the essence of spring

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Each year, inspired by Biltmore's gardens bursting with dazzling tulips and other spectacular blooms, our winemakers carefully handcraft a special release to celebrate the season. For 2016, this special seasonal release is a semi-sweet white with a touch of fruitiness—ideal for outdoor picnics and sipping while soaking up the sunshine. 

“This wine is aromatic, with hints of peach and honesuckle,” said Jill Whitfield, Biltmore Wine Marketing Manager. “It tastes as if we'd bottled the essence of spring, and we're excited that our guests can find it in their own neighborhood grocery stores and wine shops.“

In addition to handcrafting this delicious wine, we also create a beautiful new label for the bottle. “We want the label to convey the expectation and sense of celebration inspired by our gardens and the return of warmer weather,” Jill said.

Sketchbook with ideasTo illustrate the idea of sun-kissed gardens and rebirth, Jill works closely with Biltmore's Assistant Art Director Lisa Vogel. The two collaborate on what the label might portray, and Lisa creates a series of sketches that will evolve into the final concept. 

“For the past few years, I've created variations on a theme based on the soft blooms and buds that herald the return of spring in Biltmore's gardens,” said Lisa. “I add layers of botanical texture and color for a sense of richness, and then I add a slightly whimsical note like a bee or a bird that makes the design more distinctive and light-hearted.”

Sketches of roses for spring labelThis year's seasonal release label features a charming butterfly amidst a bouquet of glorious old-fashioned roses. “Jill wanted to draw the attention of our customers and reinforce the connection between Biltmore Wines, spring blossoms, and the welcome return of warmer weather,” Lisa said of her initial drawings. “So I drew roses, buds, and greenery as a backdrop, and focused on bringing out the playful little character of the butterfly once we knew where the text would be positioned on the label.”

Seasonal Release wine labelAfter Jill approved the label design, Lisa worked with specialty printers to ensure that the colors and detail of the artwork would be preserved in the printing process.

“There are so many options to make the design pop out on the shelf,” said Lisa, “from papers and varnishes to metallic inks and embossed patterns—today's wine label printers can really help bring the finished product to life—and we certainly want everyone to see the bottle and think 'spring!'”

Featured images: pages from Lisa's sketchbook paired with finished wine labels; Lisa displaying a bottle of our 2016 Seasonal Release White Wine for which she designed the label

 

Discover our Wedgewood Bedding Collection

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No other brand in the world enchants and delights like Biltmore. It’s a timeless way of life inspired by George and Edith Vanderbilt’s vision of gracious living and hospitality. Grounded in beauty and refinement, the spirit of Biltmore is captured in every stylish detail and exquisite element of the products our partners produce.

Breakfast Room in Biltmore HouseThe Breakfast Room is a wonderful example of inspiration. From its richly-textured leather wall coverings and silk cut-velvet fabrics to the bright colors of the two Renoir paintings displayed on the walls, the room envelopes guests in a warm, intimate setting full of rich details. It is the fireplace-surround, however, that connected beautifully to our Wedgewood Bedding Collection.

Blue and white Wedgwood-style tilesAlthough we have few archival notes on the origin of the surround or its installation at Biltmore, the delicate blue and white tiles are late 19th century jasperware, which is a type of colored stoneware to which a relief decoration—usually white—is applied. The surround in the Breakfast Room is after the style of legendary British potter Josiah Wedgwood.

Wedgewood Bedding CollectionInspired by the soft wedgewood blue-color hues in these jasperware-style tiles, our gorgeous woven jacquard Wedgewood Bedding brings a classic note to your bedroom with hints of color that harmonize with existing décor. Enjoy this refined bedding ensemble complete with a tasteful collection of coordinating decorative pillows and beautiful window treatments.

And the Oscar goes to. . .

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As time for the Academy Awards approaches, we are drawn to details that make Oscar-winning films so memorable—including the extraordinary costumes that bring cinematic characters to life.

Our Fashionable Romance: Wedding Gowns in Film exhibition beginning February 12 gives you the opportunity to take a closer look at costumes from seven films nominated for an Academy Award in Costume Design—including two Oscar winners!The Duchess wedding

Anthony Powell is an English costume designer and three-time Oscar winner; his interpretation of 19th-century attire for Tess was honored with the Academy Award in 1980. The wedding dress he created for Tess Durbyfield (played by Nastassja Kinski), is displayed in Biltmore’s Carriage House. Powell has been nominated for six Academy Awards; his other wins came for 1972’s Travels with My Aunt and 1978’s Death on the Nile.

Another English costume designer—Michael O’Connor—won the Academy Award in 2008 for The Duchess, where he created 30 different gowns for Keira Knightley in her role as Georgiana Cavendish, the Duchess of Devonshire. The clothing styles reflected the Duchess’ celebrity status as the center of glamorous English society of the time, and range from the elaborate gown worn for her wedding to simpler dresses in later years; you can see examples of both styles exhibited in the Banquet Hall. O’Connor was also a nominee in 2011 for Jane Eyre and in 2013 for The Invisible Woman.

The Fashionable Romance exhibition also includes costumes from five other films whose costume designers were nominated for Academy Awards in Costume Design:Out of Africa wedding dress

  • Out of Africa, 1985; designed by Milena Canonero, a nine-time nominee and four-time Oscar winner for Barry Lyndon, Chariots of Fire, Marie Antoinette, and The Grand Budapest Hotel
  • Howard’s End, 1992 and Sense and Sensibility, 1995; designed by Jenny Beavan and John Bright, six-time nominees who won the Academy Award for A Room with A View
  • Emma, 1996; designed by Ruth Myers, two-time nominee
  • Hamlet, 1996: Alexandra Byrne, four-time nominee and Oscar winner for Elizabeth: The Golden Age

Photos

Top: Hayley Atwell as Lady Elizabeth Foster and Keira Knightley as Georgiana Cavendish, Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures.

Left: Ralph Fiennes and Keira Knightley as the Duke and Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures.

Right: Meryl Streep as Karen Blixen in Out of Africa. Copyright 1985 Universal Pictures Limited. Courtesy of Universal Studios Licensing LLC.

The Inn celebrates 15 years with new Biltmore furnishings

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While crystal or watches may be traditional gifts for a 15-year anniversary, the Inn on Biltmore Estate decided to celebrate in a big way: installing new marble floors in the Lobby and new guest room furniture inspired by Biltmore House.

Most of the guest rooms (181) now feature new furnishings from Fine Furniture’s Biltmore Collection. The focal point is the signature Panel Bed in Antler Hill finish inspired by a bed with a wrapped footboard in Biltmore House. Accompanying the bed are additional pieces from the collection including a dresser, night stand, mirrors, chairside table, desk, and chair.

“It’s a real pleasure to refresh our guest rooms with furniture that represents the design and quality found in Biltmore House,” said Charles Thompson, Inn general manager. “Working with our licensed products team at Biltmore® For Your Home and their partner, Fine Furniture, has been an exciting process, and one that enable us to further extend the hospitality that George and Edith Vanderbilt created at Biltmore.”

Each season, designers from Fine Furniture spend days visiting the estate, taking extensive notes and photos as they glean details from Biltmore House and Gardens to use as inspiration for future designs.Vestibule chair

For example, the Vestibule Tufted Chair and Ottoman in each guest room incorporates elements drawn from handcrafted leaded glass in the vestibule of Biltmore House, bringing a note of distinguished elegance to the room. The masculine Dressing Chest represents George Vanderbilt’s influence, with its details drawn from the wood and stonework molding trim found throughout the house.

In addition to new furnishings, the Inn’s marble floor in the Lobby and other public areas was replaced with new marble sourced from Turkey.

“This is part of our normal maintenance efforts to ensure that we keep a pristine appearance,” Charles said. “We chose to close down for two weeks instead of asking our guests to put up with construction equipment, noise, and dust. Now we look forward to welcoming guests back with new furnishings and floors.”

Photos

Top: The Inn's guest rooms are now set with an impressive bed and other carefully crafted furnishings from Fine Furniture's Biltmore Collection. Photo courtesy of Biltmore® For Your Home.

Right: The Vestibule Chair and ottoman from Fine Furniture adds stylish comfort to 181 guest rooms at the Inn. Photo courtesy of Biltmore® For Your Home.

 

View the Collection