Rosita: The Lady in Red

Written by

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.

George Vanderbilt and His Automobiles

Written by

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

Written by

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.

A timeless tradition continues: Biltmore’s employee Christmas party

Written by

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.

Today, our event programming team oversees the employee festivities, and this tradition is one of the many ways Biltmore honors Mr. Vanderbilt’s legacy.

Learn more about the annual employee Christmas celebrations that began 130 years ago.

While there are no images from the first Christmas celebration, we know that preparations for the big event were extensive and no detail was left unattended thanks to archival letters and news articles.

Biltmore’s first employee Christmas party

When George Vanderbilt first 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. He enlisted the help of Mrs. Charles McNamee, the wife of his friend who assisted in purchasing land for the estate, to provide Christmas gifts for 300–500 guests, including estate workers and their families. Mr. Vanderbilt greeted everyone in the Banquet Hall on Christmas afternoon, and members of his own family helped distribute the gifts, which included Christmas trees and trimmings for estate employees to decorate their own homes.

“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 Patricia Phillips, Entertainment and Events Manager.

1907 receipt of gifts purchased by Edith Vanderbilt for employees Christmas festivities.
1907 receipt of gifts purchased by Edith Vanderbilt for employees Christmas festivities.

A festive family affair

George married Edith Stuyvesant Dresser in 1898, and she took an immediate and active interest in the estate’s annual Christmas festivities as soon as she and George returned from their honeymoon in October of that year. She began making detailed lists of all employees’ children, their ages, and choosing special gifts for each of them—more than 600 children in all!

In 1905, when George and Edith Vanderbilt’s only child, Cornelia, would have been five years old, the New York Times reported the following details about the holiday cheer at Biltmore:

“Mr. and Mrs. George W. Vanderbilt this afternoon provided for nearly a thousand children of Biltmore estate employees a big tree in the banquet hall of the chateau. The little ones were loaded with useful gifts and toys…bought in Asheville in the last week…Mr. and Mrs. Vanderbilt welcomed each of the little guests, many of whom came twenty miles from the coves and mountain tops of the Vanderbilt forest domain, some walking, some by ox team and some mule back…. Mr. and Mrs. Vanderbilt…personally distributed all the gifts, aided by Mrs. Edith Wharton, Mr. Wharton, and Mrs. Ernesto G. Fabbri (George Vanderbilt’s niece].”

In her oral history, Edith Cauble, whose parents worked on the estate, recalls:

“Christmas parties where Mr. Vanderbilt stood on one side of the front door of the House in tails, and Edith stood on the other side wearing a long velvet dress giving out oranges and candy. In the Banquet Hall there was music and Cornelia would run around with the other children.”

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)
Biltmore employee Christmas party held at Antler Hall in 1916.

Employee Christmas celebrations continue

Edith and Cornelia Vanderbilt continued the employee Christmas parties even after George Vanderbilt passed away in 1914. In 1916, the event took place outdoors at Antler Hall—a large home originally located where The Inn on Biltmore Estate® now sits. In the archival photograph featured here, you can see Edith and Cornelia Vanderbilt in front of the Christmas tree with Santa Claus.

Santa
Today’s employee Christmas festivities include visits with Santa!

Modern-day employee Christmas celebrations

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! It’s still a grand occasion with gifts for the children, visits with Santa, and a wonderful opportunity to see America’s Largest Home® lit by the glow of candles and firelight during Candlelight Christmas Evenings.

“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,” said Patricia.

Preserving History in Biltmore’s Italian Garden

Written by

Filled with numerous varieties of exotic water lilies, tropical bananas, papyrus, and koi fish, the Italian Garden pays tribute to George Vanderbilt and Frederick Law Olmsted’s vision each year. Although it’s is one of the most visited areas on the estate, many guests do not realize this special garden is astoundingly accurate to Frederick Law Olmsted’s original design in 1895.

Beautiful photo of Biltmore's Italian Garden with house reflecting off water
The Italian Garden’s design intent has remained unchanged since Vanderbilt’s time. Two of the pools have been refurbished, and the Hemlock hedges have recently been replaced with American Holly hedges to preserve Olmsted’s visions.

Century-Old Traditions

In early spring, Biltmore gardeners strategically choose which lilies they will order from Tricker’s Water Gardens – the very same supplier that Olmsted used in 1895. The William Tricker Company was one of the first commercial water lily growers in the United States, experimenting with growing and hybridizing water lilies to improve the shape, colors, and hardiness. Olmsted’s keen eye took note of these unique beauties and deemed them a perfect fit for Biltmore, an idea that still rings true today.

From planting to grooming to cleaning, the Italian Gardens require extensive maintenance. We plant each lily in a 45-gallon nursery pot with a mixture of clay and manure. Then we use a Bobcat to lift each plant into the pool, a process that is no doubt far easier than in 1895. Although “plant metabolism” is a foreign term to most aquatic plant novices, lilies are heavy feeders. We fertilize once a week and groom three times a week throughout the season, usually June to October. Grooming is especially important because the more pollinated blooms you remove, the more new blooms it will produce.

In addition to the lilies themselves being originally sourced from Tricker’s, the pool filtration features the original 1895 technology as well. It’s a natural system with constant water flowing into and out of the pools. The original gravity-fed reservoir provides the water for the pools, which is also used to provide water to the house. This natural filtration is especially beneficial to the dozens of koi swimming about – one of which our gardeners say is close to 50 years old!

Italian Garden pool cleaning during fall.
Meticulous attention is devoted to preserving the pristine condition of the Italian Garden pools.

Magical Lilies of the Italian Garden

Each year, our team gets excited to see the new hybrids and cross-varieties that Tricker’s Water Gardens offers. They order many of the exact plants featured in 1895, but now with new colors and hardier blooms that Tricker’s has cultivated over the years. Each pool is strategically planned and includes several varieties of night-blooming lilies, the distinct Victoria Water Platters, hardy lilies, and various banana trees and shrubs to add texture and depth.

Each lily variety works together to provide an unforgettable experience, no matter what day or time a guest visits. Night-blooming lilies reach their peak bloom in the early morning and will be completely closed by noon, while day-bloomers will open in the morning and carry into the early evening. Though each plant is expected to show between three to nine blooms at a time, many guests don’t realize that lily blooms only last for three days… a process that can be described as being “sort of magical.”

Hardy lilies typically have standard colors like red, white, yellow, and pink, while tropical lilies produce vibrant blues, purples, and even combinations of color. A favorite of our gardeners? Nymphaea  ‘Green Smoke,’ which transitions from green outer petals to blue, then yellow inner petals, to finally having light purple in its center. And in the case of the large Victoria Water Platters, these lily blooms can even change colors. The Victoria is hermaphroditic – when it blooms, it changes from female to male overnight. Beetles are attracted to this flower’s warmth, and as the bloom closes, it traps the beetles inside and forces them to pollinate the flower. The new bloom will change from white to a pink or maroon the next night.

View of Biltmore House from Italian Garden
The Italian Garden pools in summertime are filled with aquatic plants such as tropical water lilies, Victoria water platters, papyrus and huge lily pads. Photo credit: The Biltmore Company.

Uniquely Biltmore

In 2014, the Italian Garden closely resembles the original outline by Olmsted, with our experts saying the only main difference being the center bed display. Today, we use a more contemporary garden design with banana trees and elephant ears. Also, due to the sheer amount of lily varieties available now, we’re able to create a mosaic effect out of the different colors they would not have had back then.

The Italian Garden serves as an introduction to aquatic gardening for many Biltmore guests, as water gardens are not something often seen. It draws thousands of admirers each spring and summer, and the garden has even inspired a few to create their own water garden at home. According to our horticulturist, this water garden is as good as you’re going to see pretty much anywhere in the United States, but it’s a bit different. It’s uniquely Biltmore.

Camping in Pisgah Forest, circa 1901

Written by

Summertime in the mountains brings to mind thoughts of hiking trails, camping along clear creeks, and marveling at a cascading waterfall—sometimes all on the same excursion.

The call of the wild

Pink Beds Vanderbilt Campsite, July 1901
Excursions were multi-day affairs, with campsites like this one being moved to new locations every few days.

Just as many of us do today, George Vanderbilt and his friends often found the lush forests of Western North Carolina calling their names. They frequently headed out for multi-day trips to explore the beauty of Pisgah Forest, according to information gathered by Lori Garst, Curatorial Assistant in Museum Services.

Several years before George Vanderbilt’s Biltmore House was completed, the call of the mountains led Vanderbilt and his friends into the forest to camp, fish, shoot, and enjoy the beauty of Western North Carolina.

Gearing up for success

1901 Camping Excursion Pack Mules
Mules could carry up to 20% of their bodyweight for 20 miles a day, during excursions.

In June 1893, Estate manager Charles McNamee wrote to Dr. Westray Battle that he was so glad that Dr. Battle would be joining Mr. Vanderbilt’s camping excursion. McNamee prepared Battle by telling him that the group was headed to a place near Brevard where they would be met by Mr. Vanderbilt’s mules and then would proceed on towards the camp. McNamee outfitted the party for fly fishing and recommended that Battle take a firearm “for service or sport.”

Calming any hesitation about roughing it in the backwoods, the Estate manager assured Dr. Battle that there would be tents, a cot for each man, and even a cook. McNamee writes, “I thought it better to be semi-respectable in our camp rather than to be absolutely savage…”

The great excursion of 1901

George Vanderbilt at
Schenck’s workers built George’s second lodge in three days, earning it the nickname “Three-Day Camp.” The cabin had six rooms, a porch, and a dining room.

Years later, a series of photographs taken by Dr. Carl Schenck, Estate Forester, document a lively 1901 trip into Pisgah by Mr. and Mrs. Vanderbilt. Included in the large party were Dr. Battle, Marion Olmsted (F.L. Olmsted’s daughter), and Dr. Schenk. The Vanderbilts returned from an extended stay in Europe on June 6 and, without wasting any time, Charles McNamee began arranging for the outing within a few days.

McNamee ordered two tents on June 8, 1901; however, he received no reply. Requests for the tents continued until June 26. All other provisions for the excursion were in order. Perhaps in response to the lack of tents, a plea came from Vanderbilt to Schenck to build a place where the group could stay near Looking Glass Rock.

Revisiting lost memories

Edith Vanderbilt at Looking Glass Falls
Edith Vanderbilt favored the beauty of Looking Glass Falls.

We are fortunate to have 22 photographs documenting the Vanderbilts’ excursion in 1901, beginning on June 30 with a photo of the group of men with mules.  The remaining images show the trip to Looking Glass Rock with stops along the way at Looking Glass Falls, an unnamed waterfall which we now recognize as Sliding Rock, Looking Glass Creek, and “Three-Day” Camp. The final image is of Carl Schenck’s house in Pisgah with the men and mules. The back reads, “Making ready to leave for Buck Spring Lodge July 1, 1901.”

Plan your mountain escape!

Today, you can still visit the many sites the Vanderbilts’ went to in 1901 including Looking Glass Rock, Sliding Rock, and Looking Glass Falls. There are several camping spots in the area perfect for your summer getaway, too!

Biltmore wine labels past and present

Written by

Our Biltmore Estate American Series wine labels have changed through the years to reflect our brand and align with our legacy of taste and style.

While George Vanderbilt was a well-known collector of wines, it was his grandson William A.V. Cecil who developed the idea of Biltmore wines to expand his grandfather’s vision of a working agricultural property that could sustain itself.

The first grape vines were planted at Biltmore in the early 1970s, and by 1983, Biltmore Estate Wine Company was firmly established. That same year, renovation began on an original estate dairy barn to convert it into a state-of-the-art winery that opened to the public in 1985.

Early wine labels

“In 1976, our first wine label featured a sketch of Biltmore House along with the Cecil family crest and a rampant lion. The labels were inspired by the very successful Biltmore Dairy logo that consumers already associated with quality and authenticity. Wines bearing this label were only available on the estate,” said Heather Jordan, Vice President of Beverages.

An original Biltmore wine label known as the Chateau Biltmore label featuring an image of Biltmore House and a rampant lion.
Chateau Biltmore wine label, 1976

The next iteration of our labels was created in an effort to simplify the process of choosing wines. Each varietal was numbered, beginning with red wines and moving to whites (dryer whites were even numbers and sweeter whites were odd).

“It was a heartfelt method for us,” Heather said, “but we quickly discovered that our customers wanted to know a little bit more about the wine than just its name and number!” 

These labels featuring the iconic clock tower from the original dairy barn appeared in local markets from 1984–1985 and helped kick off the opening of our new Winery.

New wine label designs for new markets

Created for us by the experts of Colonna Farrell Design in Napa Valley, these labels highlighted that our wines were neither “French traditional” nor “California modern,” but authentic to Biltmore and reflective of our own unique style and heritage of winemaking. The labels were a big hit with consumers on and off the estate.

2001-2008 Colonna-Ferrel label

 Five years later, we were ready for the launch of our current wine label. We chose the design experts at CF Napa to help us craft a stunning visual statement that celebrates our history and our passion for fine wines.

Biltmore wine labels: a distinctive look

Bottles of Biltmore Estate Pinot Grigio wine
Biltmore Estate American Series wine labels

For our Limited Release wines in the American Series, it was important to create similar-but-distinctive labels to highlight this special collection available only on the estate, online, or through the Vanderbilt Wine Club®.

Bottles of Biltmore Estate Limited Release wines
Biltmore Estate® Limited Release wines, distinguished by a matte black capsule and black-and-gold label, are perfect for sipping by the glass or in craft cocktails.

“Handcrafted in smaller quantities, our Limited Release wines are unique,” said Heather. “Sharon Fenchak, our Executive Winemaker, offers creative varietal blends crafted with special techniques, and we invite you to taste them the next time you visit Biltmore.”

Two ceremonies in two days: the Vanderbilt’s wedding

Written by

In June 1898, George W. Vanderbilt and Edith Stuyvesant Dresser held their wedding in Paris on June 1 and June 2. Why two ceremonies? The first was a civil service and the second was a religious ceremony, in accordance with French law dating from the French Revolution.

Popular opinion had assumed the wedding would be a grand affair, possibly at George Vanderbilt’s home church of Grace Episcopal Church in New York City. Despite the speculation, the couple decided to be wed in Paris with as little fanfare as possible—as possible for a Vanderbilt, that is.

George and Edith were first married in a 15-minute civil ceremony at 3 p.m. on June 1, 1898 by the mayor of Paris at the Town Hall of the Eighth District in the Rue Anjou. According to one newspaper article, the couple had to comply with all the requirements of French law; the civil ceremony was complete with family witnesses, baptism certificates, the marriage certificate for George’s parents, and proof of American citizenship. The couple signed a contract of marriage.

One newspaper described Edith’s dress at the civil ceremony; unfortunately, no photos are known to exist: “The dress worn by the bride to-day was a creation of Laferrière (a noted Parisian fashion designer). It was of café-au-lait crepon, over a lining of yellow silk. The skirt was cut out in a deep Vandyke edged with a fringe of white silk, which fell to the hem. Underneath the fringe, one caught occasional glimpses of yellow lining. The bodice had a rounded collar of mauve taffeta covered with guipure (a type of lace). The bride wore a white straw hat trimmed with pink roses.”

At the end of the civil ceremony, George and Edith left the hall separately, as it would have been scandalous for them to be seen together before the church ceremony the following day.

The religious ceremony was held at the American Church of the Holy Trinity in Paris at noon on June 2, attended by family and close friends. Before the ceremony began, George had to present their civil contract to the clergymen and sign the wedding register. An eyewitness account from the Philadelphia Record reports:

―It was a union of quiet contentment…There probably never was so unostentatious a Vanderbilt wedding since the family made its millions. It is true that the church was full of costumes and the company was very fine, but there was an altogether marked quietness of tone and an absence of display.

​Although there are no wedding photographs available, newspapers described the bride’s attire. Edith—a striking figure at six feet tall—wore an understated Empire-style gown in creamy white satin of French design, with a court train trimmed in the same lace worn by her grandmother nearly a century before. According to the Philadelphia Record, her veil was decorated with lace worn by her mother. Regarding the family lace, the New York Journal declared: “It is an admirable thing to have lace, and it is also an admirable thing to have ancestors, but when one can have both lace and ancestors it is most admirable.”

After the ceremony, the wedding party, family and friends attended a breakfast at Edith’s apartment on Rue Vernet. Natalie Brown, Edith’s sister, provided two bottles of special champagne which their maternal grandfather had set aside at Edith’s birth, to be served on her wedding day. From there, the newlyweds left for Geneva by train to embark on a four-month European honeymoon.

Cornelia Vanderbilt’s Wedding: A Sweet Discovery

Written by

Our Museum Services team made a sweet discovery related to Cornelia Vanderbilt’s wedding to the Honorable John F.A. Cecil on April 29, 1924. It’s a fascinating detail that was recently uncovered in an attic—a first for Biltmore—and the sweet discovery all started with a simple phone call.

Fred Cothran proudly holds the keepsake cake from the Vanderbilt-Cecil wedding.
Fred Cothran proudly holds the keepsake cake from the Vanderbilt-Cecil wedding.

A sweet discovery

In 2014, Biltmore acquired a piece of cake for the Biltmore collection, which our curators confirm is the only edible artifact now housed in the archives. Cake? For the archives? Indeed. And even more of an enticing tidbit: we believe that it’s about to be 100 years old!

Candler resident Frederick Cothran, then 96, found the cake in a trunk he inherited from his aunt, Bonnie Revis. Miss Revis was a cook at Biltmore House between 1924 and 1935. He contacted Biltmore’s museum services department to report that he had what he thought was a piece of cheese from Biltmore House. Not wasting any time, Laura Cope, Collections Manager, paid a visit to Cothran.

“Food is personal. People bond over it, and it’s easy to relate to it on several levels,” she says, and that’s why she had to see the cheese for herself.

Keepsake cake with monogram details.
Keepsake cake with monogram details. “CVC” for Cornelia Vanderbilt Cecil and “JFAC” for John Francis Amherst Cecil.

When she met Cothran he presented her with a neat and tiny box engraved “Biltmore House” on the top. Two sets of monograms are engraved on either side: “CSV” for Cornelia Stuyvesant Vanderbilt; and “JFAC” for John Francis Amherst Cecil.

After getting back to Biltmore House, Laura researched the customs of the day and realized that this was more than likely cake rather than cheese. Then, upon hearing a recording of Paul Towe from Biltmore’s Oral History collection,  she and her colleagues confirmed that this was indeed cake – fruit cake – that the Cecils gave out as favors on their special day.

Mr. Towe recalled attending the wedding as a small boy. Towe’s father was employed at Biltmore in the 1920s and 1930s, and his sister, Sarah, was a flower girl in the wedding. Towe said that “everybody got a little white box with their name on it with a piece of fruit cake.”

Keepsake cake box with Rauscher's stamp
Charles Rauscher was a French confectioner and caterer, and his business, Maison Rauscher, was known as the ‘Delmonico’s of Washington’.

The box top’s underside has a stamp on it, “Rauscher’s – Washington, D.C.” In her research, Laura learned that Rauscher’s catered and supplied many fine confectionaries and baked goods to society families in Washington, including the wedding cake for President Wilson in 1915.

The tradition of wedding cake keepsakes can be traced back to Victorian times, typically sliced from the groom’s cake, which was often a fruit cake. Slices were wrapped and placed in tiny boxes to take home as a memento of the wedding. The belief was if an unmarried woman slept with a piece of the groom’s cake under her pillow, she would dream of her future husband.

Prince William and Katherine Middleton carried out the tradition by sending pieces of boxed cake to commemorate their wedding in 2011.                              

100 year old keepsake cake box from Cornelia's wedding at Biltmore
Cornelia Vanderbilt and John Cecil’s keepsake cake box has stood the test of time for a century.

This 100-year-old piece of cake may be considered an odd addition to a collection that contains famous works of art, books, ancient tapestries and antiques. Historically speaking, that’s not the case.

“This is a clear line connection between our day and their day, so it’s worth the effort to have it in our collection,” Laura said.

Main photo: Guests at the wedding of Cornelia Vanderbilt and John Cecil enjoyed breakfast in the Biltmore House Winter Garden, April 29, 1924.

Cornelia Vanderbilt’s Wedding: It’s All in the Details

Written by

Many people say that the success of an elaborate event lies in the details. Cornelia Vanderbilt’s wedding to the Hon. John F. A. Cecil on April 29, 1924 was no exception—from photographers to invitations to accommodations, many hands insured that all was perfect for the big day.

According to Lori Garst, Biltmore Curator, society columns were aflutter as soon as rumors began about the engagement of John Cecil to Cornelia. Letters from the Washington Times and other inquirers arrived at Biltmore asking if the engagement rumor was indeed true. No information was officially released by Edith Vanderbilt until the decision was made as to what photographer would capture the moments of the wedding and take the official bridal portrait for the newspapers.

An Official Announcement

A formal announcement was made at a dinner hosted by Mrs. Vanderbilt at Biltmore on March 8, 1924. After much conversation, Mrs. Vanderbilt awarded two professional photographers from Washington, D.C. the job. Underwood and Underwood photographed the actual wedding, while Harris Ewing captured incidental photographs including the social whirl which occurred the week prior to the wedding.

Cornelia Vanerbilt's Wedding Invitations
Invitation to Cornelia Vanderbilt’s wedding (left); invitation to the wedding reception (right)

Wedding invitations were one of the first details to secure. While famous New York jewelers, such as Cartier, wrote offering to print the wedding invitations, Adolph & Dungan engravers of Louisville designed the wedding invitations, and Inland Press of Asheville printed them. There were two separate invitations to the occasion. Five hundred people received an invitation to the ceremony at All Souls Church at 12 noon and the reception immediately following at Biltmore House. Another 2,500 received a separate invitation to attend only the wedding reception at 12:30 p.m.

Arrangements & Accommodations

With guests arriving from across the globe, Mrs. Vanderbilt’s secretary, William Ashby, had the job of making travel arrangements to Biltmore and arranging accommodations for the wedding party, close family, and friends. Most guests stayed at the Grove Park Inn, Biltmore Country Club, and Kenilworth Inn. However, 43 guests including members of the wedding party stayed in Biltmore House. Ashby sent extensive instructions for cleaning and furnishing Biltmore House to Mrs. Donohue, the head housekeeper, as early as March 15.

Rooms were updated with new wallpaper and paint, iron beds and mattresses were ordered for the visiting guests’ staff, and all sheets were washed and ironed. The bride’s wedding party stayed in the Oak Sitting Room and Mr. Vanderbilt’s Room, while the maid of honor, Rachel “Bunchy” Strong, stayed with Cornelia in her room. The groomsmen stayed at the Biltmore Forest Country Club which opened just two years prior.

Edith Vanderbilt escorting her daughter Cornelia Vanderbilt for Cornelia's wedding
Edith Vanderbilt escorting her daughter Cornelia into All Souls’ Church for Cornelia’s wedding

Other house guests included the bride’s cousins Mr. and Mrs. John Nicholas Brown, the groom’s father Lord William Cecil, and several of Mr. Vanderbilt’s sisters. Meticulous notes were kept by Mr. Ashby documenting when guests arrived, departed, and what room they stayed in Biltmore House.

No Detail Overlooked

He also kept lists of last minute specifics to make sure nothing was forgotten. His records included seating charts for the church, train reservations for guests’ departures including their preferred train accommodations, wedding gifts and addresses, and cars to be provided for the guests’ convenience. As a final detail, Mr. Ashby secured the assistance of the Biltmore Fire Department to sprinkle the streets of Biltmore with water to keep the dust down.

The Asheville Citizen published extensive accounts of the wedding for two days. While many of the details of the wedding ceremony are found in these articles, the lists and correspondence found in Biltmore’s archives give us a true understanding of the specific arrangements made to insure that Biltmore’s only bride had a perfect day.

Cornelia Vanderbilt Cecil and the Honorable John F.A. Cecil as they left All Souls Church
The Honorable and Mrs. John F.A. Cecil as they left All Souls Church

The First Bride of Biltmore

A poem titled “The First Bride of Biltmore,” written by Mrs. Vanderbilt’s sister, Pauline Merrill, painted a beautiful picture of Cornelia Vanderbilt’s wedding day on April 29, 1924.

The sun rose clear and beautiful from the hills that surrounded Biltmore.
All the world seemed happy on that day.
The daughter of the house was to be married.
The beautiful Cornelia who knew all the mountain people;
The Cornelia who loved the house and grounds;
The Cornelia who was loved by all.
The wedding bells pealed joyfully from the belfry of the little old church.
The tenants were crowding to the gate to behold their beloved mistress.
The guests crowded into the church.
The musicians played his best of the little organ.
Finally the bride entered the church escorted by eight bridesmaids and leaning on the arm of her widowed mother.
She looked more beautiful than ever before.
John Cecil, her bridegroom, had reason to smile proudly on his pretty Cornelia.
The marriage service was gone through with, and when Cornelia walked out, with a radiant smile on her face, the children streamed flowers at her feet.
Then they went back to the house.
The enormous rooms were fuller than ever before as the crowd surged forward to congratulate the first bride of Biltmore House.
Her English husband shook hands with a proud smile.
But, at last, it was over and the setting sun shone rosily over the young couple as they started on their honeymoon.