The form and function of glassware has continually been refined throughout the centuries, making it suitable for anything from art to everyday needs such as drinking wine. The material has ancient origins and was probably first developed by the Egyptians sometime after 2000 BC. It can also occur naturally, as in the case of obsidian and basalt glass produced as a result of volcanic eruptions.
Different glassware options for tasting Biltmore wines
Type and shape
When it comes to serving wine, the quality of the glassware and the shape of the vessel both play an important role in the tasting experience.
“Wine enthusiasts have long known that the shape of the wine glass affects the taste of the wine,” said Jill Whitfield, Wine Marketing Manager for Biltmore. “It’s important to educate wine drinkers on this fact, because it can change how you experience wine from the tasting room to your own home.”
A server with red and white Biltmore wines
Standard glassware
A standard tasting glass usually offers a slightly wider base in proportion to a narrower rim, with a stem to keep the heat of your hand from warming the wine.
“This combination allows you to aerate the wine by swirling it in the bowl, but it doesn’t allow the aromas—a vital component of the tasting process—to escape too quickly,” Jill said.
White Wines
White wine glasses tend to have smaller bowls to help preserve the floral aromas typical of white wines. The smaller style also helps maintain cooler temperatures, and allows more of the aromatic qualities to be enjoyed since the wine is closer to your nose. Our Biltmore Estate Pinot Grigio is a great example of a lighter-bodied white wine that would benefit from a glass with a smaller bowl design.
Full-bodied whites such as our Biltmore Reserve Chardonnay North Carolina may utilize a slightly larger bowl to showcase the smooth, creamy texture that is characteristic of the varietal.
Red Wines
Red wine glasses typically have larger bowls to allow some of the wine’s ethanol to burn off before it reaches your nose, allowing more aromas to be expressed. A wider opening allows the wine to flow more smoothly, which enhances the overall experience.
Biltmore Estate Blanc de Blancs sparkling wine served in flute glasses
Let it sparkle
According to Jill, sparkling wines are often served in a distinctive flute with a stem.
“The tall, narrow flute shape keeps the bubbles from escaping as quickly while the stem prevents the chilled wine from coming in contact with your warm hands,” said Jill.
She notes that aged sparkling wines and those that are especially aromatic may benefit from a tulip glass, which resembles a flute but widens at the waist before narrowing at the rim. As for wide, shallow coupe glasses—they allow the bubbles to fly away, allowing the softer, fruiter aspects of sparkling wines to become more noticeable.
Pouring Biltmore Estate Dry Rosé into glasses
Glass or crystal?
“Another important point to consider is the difference between glass and crystal,” Jill said. “The fine, thin texture of crystal is less interactive than glass, meaning that you’ll taste the wine and its specific characteristics more clearly, but glass is more durable and less expensive, so there are benefits to both materials.”
If tasting and understanding the complexities of wine is your goal, definitely invest in the proper equipment to help you succeed.
Guests enjoy a wine event in Biltmore’s vineyard
“In the meantime,” said Jill, “whether you’re sipping from a plastic festival cup or the tiny crystal cordial glasses passed down through your family, we encourage you to enjoy wine in many forms!”
Learn more
Purchase our award-winning Biltmore winesonline, at the estate, or from your local retailer.
When George Vanderbilt first visited Asheville, North Carolina, in 1888 and began envisioning his private estate, the wooded slopes of the surrounding Blue Ridge Mountains included vast numbers of American chestnut trees.
Seeds from one of Biltmore’s hybrid chestnuts encased in a spiny, protective “burr”
History of the American chestnut tree
Known as an all-purpose tree, American chestnuts grew quickly to great size. The wood was strong and resistant to rotting, making it a prized material for foundations, fencing, and railroad ties while the edible nut was an important source of food for cattle, hogs, and wildlife.
Around the turn of the 20th century, a blight (Cryphonectria parasitica) struck the American chestnut tree, effectively destroying the species as a source of food and lumber. The blight doesn’t kill the tree’s underground root system, but once an American chestnut sprouts from an existing stump, it succumbs to blight before it matures into a tree.
Scaly, thickened bark on this branch shows evidence of chestnut blight
Restoring our roots
In 1997, Biltmore partnered with the American Chestnut Foundation (AFC) to provide a test site for hybrid chestnuts as part of the AFC’s work to restore this heritage tree. The AFC collected pollen and seeds from the estate and crossed the genetic material with blight-resistant Chinese chestnut trees. The seedlings were planted on a sunny slope near Deerpark Restaurant.
“In a way, we’re restoring our roots,” said Jason Mull, Landscaping Supervisor for many of the outlying historic areas of the estate, including the Approach Road and the chestnut plantings. “This project has a natural tie to the importance Vanderbilt and Olmsted placed on landscaping and managed forestry.
Jason Mull indicates one of the original hybrid chestnut trees planted at Biltmore in 1997
The project continues
Jason has been involved with the chestnut project since the beginning and has now cared for several generations of trees. The test site includes a mix of American-Chinese hybrids plus full Chinese chestnuts that act as a control group.
“There are only three hybrid chestnuts left from the original planting,” Jason said. “They’ve grown pretty well in the last 20 years. They do show effects from the blight, but it hasn’t killed them.”
According to Jason, some of the more recent plantings carry a much higher percentage of American chestnut DNA than the originals because the hybrids have served their purpose in helping increase resistance to the blight.
Students from a local charter school help plant new hybrid chestnuts at Biltmore in 2013
Planting a legacy
“We’re continuing to work with the AFC to establish another planting site on the estate—preferably in the kind of wooded area that chestnuts tend to prefer,” Jason said. “If our trees continue to do well over time, that’s a wonderful legacy to leave for future generations.”
Featured blog image: Jason Mull and a student from a local charter school plant a hybrid chestnut tree near Deerpark Restaurant in 2013
In a series of posts shown below, she shared more information about the exhibition, including some exclusive details from ourGlamour on Board Premium Guided Tour.
“What a privilege it has been to create the first large-scale exhibition of the original costumes from the film #Titanic!
Working directly with @20thcenturyfox, my team members and I were able to select more than fifty costumes that were worn during the production of the film. Much of the costuming had been packed away for safe storage for the last 20 years.
From Kate Winslet’s iconic broad-brimmed purple hat to the handsome white tie and tails Leo wore to dinner, we marveled that they had retained so much material from the making of the movie.”
“As a historian, I think it’s fascinating that the film #Titanic featured several prominent historical figures who were on board the ship.
Among these were Lady Duff Gordon, a celebrated British fashion designer; mining magnate Benjamin Guggenheim; and socialite Madeline Astor.
The stunning wardrobes created for each of these characters give a true reflection of what members of this sector of society would have been wearing—and insight into their individual tastes and personalities. The iridescent blue and black beaded dress designed for #LadyDuffGordon is my favorite in the film!”
“Costume designer Deborah Lynn Scott and her team were scrupulous in their research into the historical fashion of the 1910s.
They drew inspiration from portraits and periodicals of the time and looked closely at the work of revolutionary couturiers such as Paul Poiret. Poiret first introduced the tapered 'hobble skirt' look that Rose wore on deck. This style narrowed toward the hem and was said to allow women a greater freedom of movement by eliminating petticoats and corsets.
#Poiret was a favorite designer of Edith Vanderbilt’s as well, so it’s no wonder the costumes look so at home in Biltmore House.”
“Another of my favorite features of this exhibition are the mannequins’ wigs, which were custom-made to match the actor and actresses own hairstyles.
Constructed of watercolor paper and curled by hand, each wig is a work of art in its own right! They also give us the perfect opportunity to show off the fanciful hats, feathered headpieces, combs, and tiaras that were the height of fashion at the time.”
“Seeing the exhibition in person reveals a level of detail in the costumes in #Titanic that can’t be fully appreciated just by watching the film.
Though there are some tight shots of Rose’s red dress as she perched precariously on the edge of the ship, you would never have a true sense of its beauty or detail. Each bead on this dress was hand-applied and there are enough of them to make it quite weighty! With all of this exceptional ornamentation, the dress weighs almost ten pounds!”
Chihuly at Biltmore was on display from May 17 to October 7, 2018. Please enjoy this archived content.
While still in high school, Clare Cottrell discovered two important things that would help shape her future: 1) it was possible to have a career in Public Horticulture, and 2) the location of her dream job was Biltmore.
Clare joined Biltmore’s landscaping team in 2007 after earning her degree in Horticulture Management at Bob Jones University. She served in a number of garden-related roles before becoming Supervisor of Gardens and Conservatory in 2017.
Clare at work in the Conservatory
Chihuly at Biltmore
In addition to her day-to-day responsibilities supervising these areas, Clare was also involved with the preparations to host Chihuly at Biltmore—the first art exhibition in our historic gardens and the first North Carolina garden exhibition by artist Dale Chihuly whose works are included in more than 200 museum collections worldwide.
“The preparation for this exhibition was intense,” Clare said, “but it is wonderful to have our gardens be a focal point for guests in 2018.”
Base for one of the Chihuly sculptures in the Walled Garden
Planning and preparation
Planning for Chihuly at Biltmore—and its special evening component Chihuly Nights at Biltmore—began nearly two years ago and includes the addition of major infrastructure in our gardens. Power and data lines had to be in place before last year’s spring tulip bulbs were planted, and in a carefully timed three-month period during fall 2016, two crews spent three months installing underground utilities.
In November 2017, the foundations for Chihuly’s sculptures were installed, and some of the complimentary garden plantings were completed.
Chihuly sculpture mounted on its base (shown above) in the Walled Garden
“Specific types and colors of plants were planned around the sculptures and will change with the seasons,” said Clare. “Many of the botanical elements help provide a protective buffer for the artworks, such as low-growing juniper and sedges planted around the foundation of one of the large pieces in the Walled Garden.”
Towering palm in the Conservatory
Palm project
According to Clare, some long-term garden maintenance projects had to be completed ahead of schedule to prepare for the exhibition.
“Because of the sculptures that are displayed in the Conservatory, we went ahead with a major overhaul of the Palm Room,” Clare said. “There are more than 200 palms in the Conservatory, and some of them are very old. We re-potted and repositioned them to focus the view on the ends where Chihuly’s Chandeliers are installed.”
Walled Garden and Conservatory at Biltmore
The future looks bright
Even with the demands of the extra planning and preparation, Clare is excited that the estate is hosting Chihuly at Biltmore now through October 17, and she looks forward to the future.
“This exhibition has given us the opportunity to upgrade the infrastructure of the gardens, and that means we can try new ideas and events,” said Clare.
Featured blog image: Clare Cottrell, Supervisor of Gardens and Conservatory
Premiering March 15 at The Biltmore Legacy, The Vanderbilts at Home and Abroad details George Vanderbilt’s youth and boyhood travels, his courtship and marriage to Edith Stuyvesant Dresser, and the birth of their daughter, Cornelia Vanderbilt.
In addition to family life, stories about their travels and lives on the estate are chronicled, and a variety of rare objects and personal photos from the Biltmore House collection are showcased. In honor of this upcoming exhibit, here’s a sneak peek at some of the items that will be on display:
1. Louis Vuitton travel trunk
Edith Vanderbilt’s elegant Louis Vuitton travel trunk, ca. 1900, has her initials E.S.V. engraved on the top. This fashionable piece served as her luggage for many of the Vanderbilt’s frequent trips to Europe.
2. Edith Vanderbilt’s Personal Cameras
Edith was an avid photographer who chronicled the lives of her family while living at Biltmore and traveling the world. Two of her personal cameras will be on display: her No. 4 Panoram Kodak camera Model B, ca. 1900-1903 (pictured); and her No. 3 Folding Pocket Kodak camera Model G, ca. 1912.
3. Samurai Armor
This suit of Samurai warrior armor dates to Japan’s Edo period (1615-1868). Made of iron, lacquer, leather, textiles, and silk, the armor caught the eye of George Vanderbilt during his travels in the Far East.
4. Japanese Daggers
Also souvenirs from George Vanderbilt’s travels in the Far East, these ornate daggers were prized by Western collectors and are exquisite examples of traditional lacquer and metalwork. They are made of steel, lacquer, gold, bronze, and silk from the Meiji period (1868-1912).
5. Cartier Hat Pin
In addition to the antique books, tableware, and decorative objects that Cornelia Vanderbilt Cecil and Honorable John F. A. Cecil received for their 1924 wedding, they also received jewelry, including this Cartier hat pin, made of carved jadeite, sapphire, diamond, and platinum.
Join us for The Vanderbilts at Home and Abroad—included in your estate admission—to view these items and other exceptional pieces while learning more about the fascinating family that called Biltmore “home.”
What happens in America’s Largest Home® after we un-deck our massive halls from the splendor of Christmas at Biltmore? Our housekeeping team “sweeps into action!”
Deep cleaning
Biltmore House post-Christmas is in need of the kind of deep cleaning that can’t be accomplished during the busy holiday season.
“It’s my favorite time of year,” said Connie Dey, housekeeping supervisor. “We jump right into some of our biggest cleaning projects, from the Basement all the way to Fourth Floor.”
Lights, dusters, action!
There are plenty of smaller jobs, too, and for these, Connie relies on her flashlight that busts dust in all its hiding places, a soft goat hair brush, and a Swiffer-style duster created in-house to meet Museum Services standards. Armed with these trusty tools, Connie and her team can carefully clean even the most delicate pieces in the collection.
“It takes several weeks of special training to learn how to care for the objects in Biltmore House,” Connie said, “and even then, it can be a little scary to start handling things on your own.”
Housekeeping by the numbers
According to Connie, it takes three members of her seven-person team approximately four days to clean the books and shelves in the Library. We did the math: it works out to be about 833 books—plus shelf space—per person, per day!
“We’re used to working at a fast pace and not getting in the guests’ way during their visit,” said Connie, “but lots of people are fascinated by the process, and they want to watch us work.”
Safety first
While hard hats aren’t the most common sight in Biltmore House, some cleaning projects require extra safety precautions. To reach the Grand Staircase chandelier or the arched doorways of the Banquet Hall, Engineering Services puts industrial scaffolding in place to help Housekeeping reach new heights in cleaning.
“It’s a strange feeling to have that enormous chandelier move slightly as you vacuum the cups around the lights,” Connie said, “but we have work to do, so we keep going. I can only imagine how difficult some of these tasks must have been for past housekeepers, without today’s safety controls and technology to make it faster and easier.”
Part of our preservation story
Although Connie has been a member of Housekeeping for nine years, she says she never gets tired of the work.
“My team takes great pride in cleaning Biltmore House,” Connie explained. “We’re not only keeping it clean, but we’re also looking at things constantly to detect possible problems, and that makes us an important part of Biltmore’s preservation story.”
Plan your Biltmore getaway
Winter is a wonderful time to visit the estate, and you may catch Housekeeping “brushing up” on their deep cleaning projects!
Blog images Featured image: Connie Dey uses a soft brush to dust an intricate clock in the Salon First image: Connie cradles a lamp base close to her body Second image: Freshly-dusted books and shelves in the Library Third image: Mildred Florence of Housekeeping at work in the Banquet Hall Fourth image: Connie checks to make sure no dust has settled on the linens in the Breakfast Room
Our newest exhibition, Glamour on Board: Fashion from Titanic the Movie, features costumes from the iconic production, which holds the record for the most Academy Award® nominations and the record for the most Oscars® won by a single film.
The 1997 movie was nominated for 14 Academy Awards, tying All About Eve (1950) for the most Oscar nominations. Additionally, it won 11 of those awards, tying Ben Hur (1959)—and later matched by The Lord of the Rings: The Return of the King (2003)—for having won the most Oscars.
Titanic’s Academy Awards include:
Best Picture
Best Director
Best Art Direction
Best Cinematography
Best Costume Design
Best Film Editing
Best Original Dramatic Score
Best Original Song
Best Sound
Best Sound Effects Editing
Best Visual Effects
Needless to say, the award we’re most excited about is “Best Costume Design”—which means that each and every costume on display in our exhibition is a true Academy Award-winner!
While key costumes from the film have been shown in other places, this is the first large-scale display—including outfits of background characters, shoes, accessories, and more.
Here’s a sneak peek at the detailing on a few of those fabulous pieces that’ll be displayed during Glamour on Board.
1. Rose DeWitt Bukater’s Yellow Breakfast Dress will be on display in the Oak Sitting Room during Glamour on Board.
2. Rose’s red shoes, along with the famed Jump Dress, will be on display in the Library during Glamour on Board.
3. Rose’s iconic Boarding Hat from the start of thefilm will be on display near the Winter Garden during Glamour on Board.
Join us for the exhibition beginning on February 9, 2018 until May 13, 2018. Also, be sure to ask about our limited-time Glamour on Board Premium Guided Tour. In this 90-minute tour, you’ll learn captivating stories behind the costumes’ creation, and get fascinating insights into the elegance of the era’s fashions, culture of the times, costume design, and making of the film.
It has become a tradition that movie buffs look forward to in December: A bevy of major motion pictures arrive in theaters in time to be considered as Oscar® contenders when the Academy Awards® are announced soon thereafter. In December 1997, one word seemed to sum up the collection of movies that year: “Titanic.”
As Biltmore gets ready to exhibit more than 40 stunning costumes from the 1997 blockbuster Titanic, in its newest exhibition Glamour on Board: Fashion from Titanic the Movie, we look back at a few of the reactions from film critics when it was released 20 years ago.
The well-known film critic Roger Ebert declared that James Cameron’s film “is in the tradition of the great Hollywood epics. It is flawlessly crafted, intelligently constructed, strongly acted and spellbinding…”
“A Spectacle As Sweeping As The Sea” The headline atop critic Janet Maslin’s sparkling review in the The New York Times on Dec. 19, 1997, cued readers in a not-so-subtle manner of her delight.
Ms. Maslin wrote: “What a rarity that makes it in today’s world of meaningless gimmicks and short attention spans: a huge, thrilling three-and-a-quarter-hour experience that unerringly lures viewers into the beauty and heartbreak of its lost world. Astonishing technological advances are at work here, but only in the service of one spectacular illusion: that the ship is afloat again, and that the audience is intimately involved in its voyage.”
Titanic went on to become the most Oscar-winning film ever, raking in a record 11 Academy Awards, including the trophies for Best Picture and Best Costume Design.
“Titanic is a fantastic voyage,” wrote Dave Kehr in his review for the New York Daily News. “But Titanic is not merely good. It is a magnificent object, a feat of engineering and an overwhelming visual, aural and emotional experience …”
We look forward to showcasing the luxurious costumes designed by Deborah L. Scott, and worn by actors Leonardo DiCaprio, Kate Winslet and many others. Seeing them throughout the rooms of Biltmore House, our guests will experience perfect examples of the wardrobes favored by transatlantic travelers like George and Edith Vanderbilt in the early 1900s.
“Titanic soars with charismatic performances, spectacular effects.” – Margaret A. McGurk, Cincinnati Enquirer, Dec. 19, 1997.
After almost two years of planning, Biltmore’s newest costume exhibition, Glamour on Board: Fashion from Titanic the Movie, is beginning to come to life.
While key costumes from the film have been shown in other places, this is the first large-scale display—including outfits of background characters, shoes, accessories, and more.
All that’s to say, Leslie Klingner, Biltmore’s Curator of Interpretation; Anne Battram, our Upholstery and Textile Conservator; and Janey Abbott, Costume Specialist, have been hard at work. Anne and Janey began dressing mannequins back in May and they’ll be the first to admit: There’s more to the task than meets the eye.
1. Outlining the exhibition
Before the costumes were chosen at Fox Studios, Leslie worked with other members of our Museum Services team to map out the storyline of the exhibition, which informs where the costumes will be placed throughout Biltmore House.
“This plan shifted a bit as we saw what costumes were available,” said Leslie. “Some were so striking that it was clear immediately in what room they could best be showcased.”
As Titanic is set in the early 1910s, many of the period-specific costumes paired easily with the interior of America’s Largest Home®—but others required some judgement calls.
For instance, one costume in the film’s collection is a beautifully intricate maritime officer’s uniform.
“The artistry of the piece is truly incredible,” Leslie said, “and the Captain’s story is an important one, but that outfit simply doesn’t make sense just anywhere in Biltmore House. In the end, we decided that it made the most sense in the Banquet Hall, knowing that when the Vanderbilts’ travelled, they would have often been invited to dine at the Captain’s table. We wanted to convey a sense of that through this exhibition.”
2. Documenting the costumes of Glamour on Board
Not long after the flow of the exhibition is outlined, the costumes begin to arrive. At this point, Leslie and Janey must photograph each of the 511 items to document their condition and arrangement upon arrival.
“The process is far more involved than dressing a retail mannequin,” explains Leslie. “These costumes are iconic and hold cultural and historical value, so we have to pay attention to the details of every single piece.”
The team then creates an inventory sheet for each costume, identifying all of the pieces included as well as a film still showing the costume on its character.
3. Dressing the mannequins
Before actually dressing the mannequins, Leslie and Anne pair the costumes with the most appropriate mannequin.
“Our mannequins are custom made,” explained Leslie, “and as styles change with the times, it’s important for each to reflect the style of dress from that era. We pad out mannequins to best support the textiles while they are on display and also try to reflect the form of the actor who originally wore the outfit.”
“For some costumes, we need mannequins whose poses can accentuate certain accessories, such as shoes or a fan, while still appearing anatomically correct,” added Janey.
Finally, Anne and Janey put the costumes on the mannequins and Leslie checks to see what may need adjusting to make the pieces as authentic as possible—which can be anything from needing extra padding to create a certain shape to finding creative ways to resolve issues that arise.
They then take the costume off, make the adjustments, put the costume back on, and check their work.
“No matter how well we plan, there is always something that didn’t fit quite how we expected,” said Leslie. “Anne and Janey have come up with countless ways to mask small gaps between buttons or to create the illusion of a lengthened hem. It’s an art!”
“It really is a challenge in 3D thinking,” says Janey. “We’re essentially creating form from the inside out.”
In the last few months of dressing, this team will be adding wigs custom-made of watercolor paper and jewelry for a final touch. Meanwhile, our Floral team is planning complementary décor for the rooms and our Engineering and Conservation teams plan for lighting, object movement, and installation.
Join us for the exhibition and see how all of the hard work pays off. Also, be sure to ask about our limited-time Glamour on Board Premium Guided Tour. In this 90-minute tour, you’ll learn captivating stories behind the costumes’ creation, and get fascinating insights into the elegance of the era’s fashions, culture of the times, costume design, and making of the film.
From a young age, George Vanderbilt inherited his father’s passion for admiring and collecting art. While George was inspired by the earlier artists his father admired, he also supported more modern, progressive artists who embraced contemporary themes and new technologies.
Let’s take a look at a few of the pieces in the Biltmore House collection that speak to George Vanderbilt’s love of ground-breaking artists and their work.
1. Ignacio Zuloaga’s “Rosita”
On display in the Louis XV Hallway
Painter Ignacio Zuloaga drew from folklife and long-founded elements of Spanish painting—for instance, Rosita is lounging on a divan draped with a mantón de manila, an integral part of the costume worn by flamenco dancers. However, Zuloaga was also influenced by the philosophy and art of the French symbolists to explore different modes of expressing character and energy and encouraging personal interpretation. In this, the character and energy of Rosita is distinct; she is confident: a model at ease with being an object of beauty.
2. Pierre-Auguste Renoir’s “Young Algerian Woman” and “Young Boy with an Orange”
On display in the Breakfast Room
Renoir painted alongside fellow artists Monet and others to create a wholly new style concerned with capturing light, movement, and other optical effects. This Impressionistic approach to handling light, as well as Renoir’s unique style of composition, his use of underlying foundations and free brushwork, and his informal, intimate subject matter were all ground-breaking developments—represented in both Young Algerian Woman (above) and Young Boy with an Orange (feature image).
Fun fact: The Renoir paintings in the Biltmore House collection were likely among the first of his works in America!
3. Maxime Maufra’s “Vue du Port” (“View of the Harbor in Sunset”)
On display in the Breakfast Room
Frenchman Maxmie Maufra travelled to England as a young man and devoted time to study the Romantic landscapes of Constable and Turner. While their dramatic skies and turbulent seas were impactful, his work clearly shows the influence of the Impressionist and Post-Impressionist schools in his handling of light and color.
4. Constantin Emile Meunier’s “Anvers” (“Antwerp”)
Not currently on display
Inspired by his travels and exposure to the industrial region of Belgium, Meunier made an important contribution to the development of modern art by elevating the image of the industrial worker, dock worker, and miner to an icon of modernity. While he certainly wasn’t the first to explore the theme of workers and industry, his portrayal of labor and laborers in forthright, heroic fashion was an altogether new approach.
.jpg)
.jpg)
