The Waltz, one of our guests’ favorite paintings, made its grand return to the Second Floor Living Hall following an extensive conservation process as part of our mission of historic preservation at Biltmore.

Along with its return comes a treasure trove of new research and intriguing discoveries about the painting from Whitney Richardson, Curatorial Assistant, who had the opportunity to learn more about The Waltz while it was being conserved.

“The Waltz’s journey to Biltmore House in Asheville, NC, is as intriguing as the painting itself, offering a fascinating glimpse into art history and the world of Gilded Age artists and collectors,” said Whitney.

The artist

Swedish artist Anders Zorn, 1908.

Artist Anders Zorn was born in Mora, Sweden, about 220 miles north of Stockholm. After studying at the Royal Swedish Academy of Fine Arts, he started as a watercolorist in 1881. By 1888, he had switched to oil painting and gained rapid acclaim. That year, he dazzled at the Paris Salon and in 1889 at the World’s Fair in Paris where he earned the first-class medal in the Legion of Honor and was knighted.

George Vanderbilt discovered Zorn’s work at the 1893 Columbian Exposition in Chicago, where The Waltz was showcased in the Swedish Section of the Fine Arts Building. George purchased it for $3,000—equivalent to more than $100,000 today!

Often compared to his American counterpart, John Singer Sargent, Zorn’s work is now fittingly displayed near Sargent’s at opposite ends of our stately gallery, highlighting the impressive achievements of both artists.

The art of storytelling

The Waltz is a large painting, approximately 6.4 feet x 4.4 feet, and further enhanced by a striking gold frame.

The Waltz was critically acclaimed for Zorn’s depiction of light. His brightly lit ballroom in the background—a popular setting for late 19th-century Parisian social life—and the dimly lit salon in the foreground were technically impressive.

“The painting is considered a masterpiece in part because of Zorn’s ability to capture movement and narrative in three parts,” said Whitney. “There are two couples in the foreground escaping the larger ballroom to dance more intimately; there’s the ‘envious and lone man,’ according to Zorn himself, watching from the middle ground; and the chaos of the ball unfolding just beyond the curtain pulled aside in the background.”

The art of transformation

Closer details of The Waltz with the figures in their final positions and colors. Zorn painted his own likeness on the man in the foreground while the woman in the black dress (far right) resembles his wife Emma.

Creating a grand painting like The Waltz starts with a lot of preparatory work. But did you know that a key part of this process remained hidden for nearly 90 years?

The study for The Waltz was kept in private collections until it was finally unveiled to the public in 2013 during the exhibit Anders Zorn: Sweden’s Master Painter. Painted in 1890, a year before the final version, the study gives us a fascinating glimpse into Zorn’s artistic process.

In his earlier work, we see Zorn experimenting with different models and lighting. The couple in the foreground consists of opera singer Märta Petrini in a striking black dress, dancing with Count Louis Sparre, while the face of an unidentified ‘French banker’ is superimposed on Sparre’s body. Petrini, who was performing at the Opéra Comique in Paris, and Sparre, a student of Zorn, are depicted as part of the lively scene. Another woman in a white dress and Armand Dayot, a French art critic, are also featured.

The final 1891 painting, which eventually made its way to Biltmore House, shows some intriguing changes. The woman in the foreground now wears a white dress, while Zorn’s face has replaced the banker’s. Interestingly, the other woman now wears the black dress and bears a striking resemblance to Zorn’s wife, Emma. The woman in the red dress has also been repositioned, now with more muted colors and less centrally located, which allows the foreground scene to shine. Zorn gifted the study of The Waltz to Count Louis Sparre, who kept it in his collection for many years.

Wistful reflections on The Waltz

View of Second Floor Living Hall, a gallery-style room in Biltmore House. The Waltz hangs at the end closest to Mr. Vanderbilt’s Chamber while the two John Singer Sargent portraits are the other end, close to the Grand Staircase.

One of the most captivating revelations Whitney learned is that the artist himself, Anders Zorn, wasn’t keen on where his masterpiece would reside.

In the same memo where Zorn describes his models, he reveals a touch of wistfulness: “It was then purchased on Chicago exhibition by George Vanderbilt and now adorns his castle at Biltmore in the Southern States. Sad [when] … my paintings end up in the countryside where I have a hard time seeing them again. They are my offspring, and I love them all.”

Although Zorn didn’t have a chance to see The Waltz at Biltmore, he could never have imagined that it would captivate more than a million visitors each year.

“Zorn went on to paint many portraits, including those of three American Presidents and the King of Sweden. He also painted George Vanderbilt’s cousin, Virginia Purdy Bacon (Mrs. Walter Rathbone Bacon), after Sargent’s famous portrait of her was completed. Not only a painter, Zorn also etched the final composition of The Waltz the same year he completed it in oil, showcasing his versatility,” Whitney noted.

From preservation to presentation

Painting conservator Ruth Cox at work on The Waltz by Anders Zorn in her studio.

When The Waltz was removed in September 2023, it was expected to take 12 months for painting conservator Ruth Barach Cox to complete her work on it. The meticulous process involved a series of careful steps to ensure the painting was preserved and returned to its original appearance.

First, the painting was carefully re-lined and re-stretched, with the original stretchers receiving a thorough vacuuming. To address existing repairs, Japanese paper was used on the reverse side, and the entire back was humidified to smooth out visible waves. The surface of the painting was cleaned to remove discolored varnish, revealing a brighter and clearer image.

Special attention was given to stabilizing fragile areas and consolidating paint, and any paint loss was filled in using a technique called in-painting, where original colors are matched and seamlessly blended. True to professional standards, we made sure all treatments on The Waltz were both easy to spot and reversible.

The Waltz by Anders Zorn, before and after conservation.

Reinstalled on July 11, 2024, The Waltz is on view in the Second Floor Living Hall of Biltmore House, where you can admire its vibrancy!

We hope that learning about its fascinating history, the artist Anders Zorn, and the people who modeled for it will deepen your appreciation of this masterpiece. We’re excited to share its story and invite you to see it for yourself during your next visit.