Among the most eye-catching elements of the Oak Sitting Room are two John Singer Sargent portraits, each with a distinctly different feel. The demure woman in a silk gown is Mrs. Benjamin Kissam, George Vanderbilt’s aunt. The lively woman dressed in a Spanish mantilla and flouncey dress is one of George Vanderbilt’s favorite cousins, Virginia Purdy Barker, otherwise known as Mrs. Walter Rathbone Bacon.

Virginia, whose nickname was Jenny, was born in 1853 and spent much of her youth in Bordeaux, France. She and her brother Clarence were George’s frequent travel companions and the three shared a love of music. While Clarence died not long after Biltmore House opened, Virginia, George, and their friends enjoyed happy times in the home as evidenced by photos taken during this time.

John Singer Sargent had painted family portraits for the Vanderbilts since around 1888 when he completed a portrait of Maria Louisa Kissam Vanderbilt, George’s mother, which is displayed in the Tapestry Gallery along with Sargent’s 1890 portrait of George Vanderbilt. In 1895, Sargent painted Richard Morris Hunt, Biltmore’s architect, and Frederick Law Olmsted, the estate’s landscape architect; both of these works can be seen in the Second Floor Living Hall.

It was also in 1895 that Sargent first discussed painting a portrait of Mrs. Bacon; however, he was delayed in starting it, as he wrote George Vanderbilt for “want of success in finding a fine old frame for it.” He was concerned that frame needed to be comparable to those used in the portraits of Olmsted and Hunt. In the end, he opted to have a frame made.

The portrait was finally painted in 1896 and although Sargent wrote that Mrs. Bacon would have liked for it to have been displayed in New York before shipping to Asheville, there wasn’t enough time. The portrait arrived at Biltmore in December 1896.

Curator of Interpretation Leslie Klinger says that the portrait of Mrs. Bacon is reminiscent of Sargent’s early work and reflects his love of Spanish music and dance. In addition to being one of the foremost portrait painters of his time, Sargent was also an accomplished pianist.

Leslie speculates that perhaps the musical connection between artist and subject inspired this portrait. Sargent’s choices “make you realize what a fun person she must have been,” says Leslie. “You can understand why she was one of George’s favorite cousins.”

Mrs. Bacon’s portrait is a reminder of the role music has played in the life of Biltmore—a tradition that continues with the Biltmore Concert Series which brings outstanding performers to our unforgettable surroundings. See this year’s line-up and purchase tickets here.

Photos

Top: This circa 1892 photo shows family and friends visiting George Vanderbilt at Biltmore. From left (seated): Vanderbilt's cousin-in-law Walter Rathbone Bacon, forester Gifford Pinchot, and cousin Virginia Barker Bacon; (standing): Vanderbilt's nieces Emily and Adele Sloan, and George Vanderbilt.

Right: Portrait of Mrs. Walter Rathbone Bacon by John Singer Sargent, 1896.

The April 29, 1924 wedding of Cornelia Vanderbilt and the Honorable John Francis Amherst Cecil drew guests from around the world, who brought with them lavish gifts from their home countries.

Gifts given with meaning

Many of the gifts had personal significance to the couple. Her mother, Edith Vanderbilt, gifted a cocktail shaker and brooch to John Cecil, while John Cecil’s father gave a diamond and sapphire horseshoe-shaped brooch to Cornelia to celebrate her skill with horses. Cornelia’s maid-of-honor gifted her with a distinctive marabou feathered throw along with other bedding, still part of Biltmore’s collection. Sir Esme Howard, British Ambassador, gifted the couple with Essays of Bacon, honoring John Cecil’s homeland and the couples’ intellectual interests.

Not all of John and Cornelia’s wedding gifts were given by those with fabulous wealth. The servants of Biltmore House, coordinated by butlers Arthur Hopkins, William Donahue, and Herbert Noble, pooled funds to give the couple a china breakfast set. Gifts from other residents of the estate included baskets, brooms, door stops, kumquat marmalade, and a puppy! Even more meaningful than gifts, estate employees gathered outside the house the night before the wedding with noisemakers and a band to celebrate Cornelia on the eve of her special day.

Below are photos of several notable wedding gifts, which can be seen at The Vanderbilts at Home and Abroad exhibition in Antler Hill Village.

Cupid and Psyche figurine, late 19th century, French bisque porcelain and ormolu.

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Hatpin, ca. 1924 from Cartier, New York. Made of carved jadeite, sapphire, diamond, and platinum with original case.

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Vanity case with attached lipstick and cigarette holder, ca. 1924 from Cartier. Made of gold, enamel, carved jadeite, platinum, diamond, and onyx, in the original box. The case opens to reveal a mirror, powder compartment, and powder puff.

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Shoulder brooch for Scottish plaids, Henry Tatton, Edinburgh, Scotland, 1919. Featuring cairngorm (smoky quartz) and sterling silver. And Amethyst pendant, ca. 1924.

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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.

(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.

(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.

(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.

(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.

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.