Earlier this month, I returned to Auxey Duresses to spend time at the Domaine and taste the 2026 Maison Leroy release in full. This was a significant visit.

We tasted more than 25 wines across vintages, appellations and styles, which allowed for a level of depth and comparative understanding that is rarely possible with Maison Leroy. It is a way of tasting that strips away hierarchy and focuses entirely on expression, timing and intent.

Having visited consistently for more than 12 years, and multiple times each year, I have seen many releases in different forms. I can say with confidence that this is the most complete and compelling Maison Leroy selection I have encountered. It is an exceptional release. The 2026 Maison Leroy collection tasted as a modern collection in the fullest sense. What gives it its shape every year are wines drawn from different years, now brought together at a point where Madame believes the wines have something extraordinary to say. However, this felt like the first Maison collection to begin to mirror, with real conviction, the superlative character of Domaine Leroy.

There is range here, certainly, across appellation, level and vintage. Each feels released at precisely the point where evolution had hardened rather than softened its definition.

That is what gives the release its outright drinkability — an unflattering expression to many, and perhaps one not preferred at the Maison, but these were wines of serious joy and poise.

What makes the 2026 release especially significant is that it presents Maison Leroy in a form that feels entirely of the present, while carrying the same gravitas, refinement and inner control that have come to define the Domaine at its highest level. The result is a Maison collection of unusual stature: one that stands on its own terms, yet also comes closer than any previous release to reflecting the authority and brilliance associated with the Domaine’s dominant era. Process and Élevage To understand Maison Leroy, one must first understand the process. Every wine is tasted blind by Madame Lalou Bize Leroy before any decision is made. Hundreds of wines are assessed each year, with producer, appellation and reputation set aside. Rarely do new wines make the cut. Only when a wine meets her standard does it carry the Leroy name. That responsibility remains directly hers. It is only the beginning. Once secured, the wines are transferred to the cellars, where they enter a long and closely controlled élevage. For the reds, with Bourgogne Rouge the sole exception, every wine completes its élevage in used Domaine Leroy barrels, regardless of appellation. Village or premier cru, classification gives way to quality. Each wine is handled according to its potential, allowing a level of refinement and integration that rises above hierarchy. The same philosophy applies to the whites. With Bourgogne Blanc the exception, the wines complete their élevage in used Domaine d’Auvenay oak barrels. The foundation of Maison Leroy Maison Leroy is the original cornerstone of one of Burgundy's most influential and enduring families. Founded in 1868 by François Leroy in Auxey-Duresses, the business began as a négociant operation with access to vineyards across the Côte d'Or, including Auxey-Duresses, Meursault, Pommard, Chambertin, Musigny, Clos Vougeot and Richebourg. At the time, the wines were not bottled under the Leroy name, instead being sold through the Comptoir des Propriétaires de la Côte d'Or. Under Joseph Leroy, the Maison expanded commercially, before Henri Leroy fundamentally reshaped its trajectory. In 1942, during a period of uncertainty in Burgundy, Henri acquired a 50% stake in Domaine de la Romanée-Conti. His stewardship was instrumental in restoring and elevating the estate to its modern standing at the very pinnacle of fine wine. While the négociant arm continued, it was under Lalou Bize-Leroy that Maison Leroy assumed its modern identity. Joining the family business in 1955 and taking control in 1971, Lalou transformed the Maison into something far more exacting: a house defined by independence, absolute selection and long-term vision. Maison Leroy sits at the centre of a wider Leroy ecosystem, alongside Domaine Leroy and Domaine d'Auvenay – each representing distinct, yet complementary, expressions of the same uncompromising philosophy — wines that consistently transcend AOC convention. The forthcoming Domaine Leroy release will offer a contrasting perspective – rooted in vineyard ownership and production, yet entirely equivalent in rarity, prestige and ultimate quality.  The 2026 Maison Leroy collection will be released soon. Read more about Maison Leroy and browse all current listings 

Managing Director Craig Norton returns to Auxey-Duresses for a tasting unlike any other – the 2026 Maison Leroy collection in full, and what it reveals about one of Burgundy's most singular houses.

The 2026 Maison Leroy collection in full — selected by Madame Lalou Bize-Leroy, released only when ready. 


The 2026 Maison Leroy Collection

I am too disorganised to call myself a collector, but I often find myself thinking about the multiple meanings of collecting. I have a room full of books left unread from one year to the next, whose mute reproach I feel every time I am in their presence. I have half a dozen radios, from Marco Zanuso and Richard Sapper’s folding Brionvega TS502 to a Danish-made Beolit 707 from Bang & Olufsen, with its slide rule tuning device. I have a manual typewriter.  Most of us accumulate such random clutter. These were never possessions that were primarily about being useful – the Brionvega and the Beolit have long since been supplanted by a bluetooth speaker and a smartphone. They represent my membership of the design tribe.  The books carry other layers of meaning. My five years at university are on one shelf. The traces of the eight years I have spent writing a just-completed biography of Boris Iofan – Josef Stalin’s preferred architect – are spelled out in the titles of the books on another shelf. The typewriter was inherited from my father and it serves to remind me of childhood. The closest that I come to having a collection that a serious collector might acknowledge is in my chairs: a Rover chair that Ron Arad salvaged from a car, a Gio Ponti Superlegera, an Eames Lounger, a Harry Bertoia, George Sowden’s Palace chair from the 1983 Memphis collection and a deconstructed armchair designed by Rei Kawakubo. On a larger or smaller scale, humans develop complex relationships with their possessions that can go from the professionalism of full-blown collecting, to the casual significance of a row of junk shop finds on a mantlepiece. They can tell us a lot about ourselves. Marina Warner’s guide to the house in Hampstead, now run as a museum, in which Sigmund Freud spent the last year of his life, offers an arresting insight into the significance that collecting had for him. She describes the ranks of ancient bronze, ceramic and marble figures parading across the desk that Freud brought with him to London from Vienna where he no longer felt safe due to Nazi occupation in 1938. Certainly, they are beautiful, and mostly they are precious. Thanks to their association with Freud, even the few that have been established as 20th-century forgeries will have become valuable. Some are almost 4,000 years old and reflect the religious and political practices of the distant past. Others, such as Freud’s art deco cigar case, come less freighted with history. But as Warner says, “they were also tools of thought, the kitchen utensils of his imagination”.   The batterie de cuisine of psychoanalysis included Egyptian coffin masks from the Roman period, Chinese jade and gold brooches, Roman glass, a 2,500-year-old sphinx, sarcophagus lids, Babylonian cylinder seals and Egyptian heart scarabs, as well as a 19th-century neck rest from New Guinea, modern metal porcupines, and Balinese figures. The pieces in pride of place on his desk, placed in apparently random order, were his special favourites, a tiny fraction of his collection that had become permanent fixtures. From time to time, Freud made space for a few new acquisitions to get a look in. “A collection to which there are no new additions is really dead,” he told his biographer Ernest Jones. After a short interval, most of the new things would be moved into the glass-fronted cabinets positioned around his study, where they were placed in more organised groups than those standing on his desk. Greek sculptures went on a shelf together. A cluster of representations of the Egyptian god Horus were grouped on another.  In Freud’s lifetime, the collection was continually changing. Before his move to London, he toured Vienna’s antiquities dealers almost every week on the look-out for new finds. He was ready to exchange pieces for items he could not afford to buy, and was generous in gifting pieces to friends and pupils he thought would appreciate them. Freud also had no qualms about buying items that came on the market in questionable circumstances, in particular, from the unofficial excavations (sometime after 1906) at a Roman fort in Hungary.   Despite the important part it played in his life, Freud wrote very little about collecting. The nearest that he came to spelling out what drove his interest in fragments of ancient sculpture, was when he compared his own exploration of the unconscious minds of his patients to an archaeological excavation of an ancient city. “The psychoanalyst, like the archaeologist, must uncover layer after layer of the patient’s psyche before coming to the deepest, most valuable treasures.”  Freud was known to share his dining table with choice specimens to act as companions during a meal. “I must always have an object to love”, he confessed to his colleague and rival Carl Jung. When he was writing his book The Interpretation of Dreams in 1895, Freud spent the summer at Schloss Bellevue outside Vienna. He took a selection of what he called “my old grubby gods who take part in the works as paperweights for the manuscripts” with him.  Before Freud left Austria for England in 1938, his desk, his consulting room, and his study at Berggasse 19 were photographed by Edmund Engelman. Engelman’s 150 images helped Freud’s architect son Ernst to transpose the desk and its contents from a dark back room in a Viennese apartment to a sunlit Hampstead villa.  Like most collectors, Freud could never limit himself to a single field. Ronald Lauder the former MoMA chairman, for example, is known for the collection of Viennese modernism that forms the basis for his own museum, the Neue Galerie in New York. He also collects (in depth) in 15 other fields with little apparent connection between them. Lauder is fascinated by the work of the Japanese designer Shiro Kuramata. He has a collection of arms and armour going back to The Crusades, and another of World War Two memorabilia. He owns some of Egon Schiele’s finest works, as well as various 18th-century French artworks. Fellow collector Rolf Fehlbaum (head of Vitra) has one of the largest collections of modern chairs in the world, and gave Frank Gehry his first European commission to design a gallery for it, but he is equally fascinated by toy robots manufactured in Japan since 1937. He calls them tiny kinetic sculptures. Where possible, he acquires their original packaging too. Perhaps the best way to understand the psychology of collecting is to see it as a spectrum. At one end, it is about order and control. In a messy and uncontrollable universe, a collection offers at least a semblance of certainty. A collection of this kind is based on provenance, completeness and authenticity. An over-restored vintage Bugatti is less desirable to a collector than one in original condition.  Every previous owner, every detail of its making forms part of its record. A red Olivetti typewriter designed by Ettore Sottsass that once belonged to David Bowie was sold at Sotheby’s for US$65,000. You can buy one (that hasn’t been owned by Bowie) for US$750, which is still a lot of money for a piece of obsolete technology. Some collectors attempt to make patterns from the things that they acquire or, like jigsaw puzzlers, set out to complete a picture by locating every piece of a set. Some try to document the evolution of a species whether the subject of their interest is biscuit tins or the eggs of a particular type of bird. Some forms of collecting require the active engagement of the collector. Wildflowers need to be picked and dried quickly before they are pressed into a book. Butterfly collectors used macabre methods such as poison jars, or squeezing the thorax, to dispatch their prey without causing so much distress that they risk damaging delicate wings. At the other end of the spectrum, the accumulation of stuff by people who die alone in homes overwhelmed by stacks of ancient newspapers and tins of cat food, is a kind of sickness. It’s a condition that can overwhelm even the most celebrated of artists. In the last 17 years of his life, Andy Warhol filled a succession of cardboard boxes with a seemingly random accumulation of objects: taxi receipts, a vinyl Ramones single signed by Joey Ramone, a piece of an ancient, mummified foot, pastel-coloured corsets and a selection of metal dentures. Every time he had a full box, it was sealed and shipped off to storage in a warehouse in New Jersey. A typical box has 400 objects in it, some have as many as 1,200. Items in them include a piece of Caroline Kennedy’s wedding cake – Warhol seems to have been a regular guest at Kennedy weddings. He showed up 20 minutes after the wedding ceremony for Maria Shriver and Arnold Schwarzenegger had started, in the company of Grace Jones. He was in black leather, and wearing two wigs; she had on a huge green fur hat.   Warhol’s boxes are a collection of the uncollectable and the uncontrollable, which, thanks to the resources of the Andy Warhol Foundation, has been tamed after six years of work by a dedicated group of archivists and cataloguers. The Andy Warhol Museum in Pittsburgh has aestheticised the cardboard boxes. They sit on back-lit shelves in the museum to suggest that this is not a random collection of trash that Warhol never looked at, but, in the view of the museum, is in fact a time-based art piece, comprising at least 500,000 objects that took 30 years to complete. It presents a considerably less impressive sight than British Regency period architect Sir John Soane’s museum. The architect of the Bank of England put as much effort into adapting his Lincoln’s Inn Fields house (and subsequently the two adjoining houses) to display his Hogarth paintings, a sarcophagus and his architectural models, as he did to accumulating the collection itself. The Nobel prize-winning Turkish writer Orhan Pamuk’s novel, The Museum of Innocence is an eloquent exploration of the hoarding end of the collecting spectrum. What initially appears to be an account of a doomed love affair, quickly reveals itself as an exploration of the meaning of collecting. The story’s main protagonist Kemal starts acquiring things when his relationship with his lover Füsun is going well. When she drops an earring, he finds it and puts it to one side. As Füsun falls out of love with him, Kemal begins an increasingly desperate accumulation of objects that record their relationship. He picks up each of the cigarettes that she smokes. When she has stopped seeing him altogether, Kemal starts hanging around at her parents’ house and stealing pieces of cutlery that she might have used.  What makes Pamuk’s book particularly remarkable is that he acquired a house in Istanbul’s Beyoğlu district that had belonged to a Greek merchant in the Ottoman era, and transformed it into a physical Museum of Innocence. It is, of course, very far from innocent; everything inside it is a lovingly created fiction. The first thing that you see once you get inside, is a wall covered with 4,213 cigarette ends, each of them carefully annotated in Pamuk’s neat handwriting, with imaginary details of the time and place they were smoked. The rest of the house is full of equally carefully fabricated objects from cosmetics to movie posters that reflect Pamuk’s vision of the modernising Turkey of the 1970s. “I think getting attached to objects happens in traumatic times and love is a trauma,” Pamuk once said. “Perhaps when they are in trouble, people hoard things.”  When Pamuk gave me a tour of his museum, he told me about meeting Warhol’s archivist, and expressed his reservations about the significance of the boxes in Pittsburgh. “Hoarding objects reaches the level of collecting only when there is a story that unites them,” he said. But that is a novelist criticising another, less narrative art form. While Freud’s desk in Hampstead was always useable, if overcrowded, the desk in fashion designer Paul Smith’s office in Covent Garden is completely overwhelmed with a snowdrift of collected objects that sweeps over an office chair, down onto the floor, and back up to the shelves that line every wall. There are stacks of books and magazines, cameras and mountains of vintage cycling jerseys. There is an i-Mac computer, a gift from Jony Ive that Smith has never used. Computers aren’t Smith’s thing. In any case, it’s too late now, short of purging half the contents of the room: there is no way to get near it. There are toy tin cars, collections of bottles from Moroccan markets, a pink bicycle and a lot of rabbits. “I once said in an interview that seeing a rabbit brings me luck, and they haven’t stopped pouring in ever since,” explains Smith. Collecting began, as did so many things in Smith’s career, with his early enthusiasm for cycling. Growing up in Nottingham in the 1950s, there was a newsagent which occasionally had a copy of L’Equipe, which would portray the heroes of the Tour de France in their yellow jerseys in colour on the cover, but in sepia inside. He bought the magazine, fascinated by the images, even if he couldn’t read it. “I can remember once saying, ‘I really like Jacques Anquetil’ to my father, which baffled him, since none of our family had ever been abroad. I saved my pocket money so that I could upgrade the gears on my bike from Simplex to Campagnolo. The box it came in was as important to me as the gear itself.”  What attracted Smith to the Campagnolo box, along with stamps and matchboxes which he has in large numbers – not just in his office but at his Nottingham HQ where he has an archivist trying to make sense of it all – is the way that designers can say so much in such a tiny space. He showed me a Japanese book of matches produced for a Tokyo nightclub in the 1970s. “It so clearly says it’s ‘contemporary’. You can hear the jazz already.”  Despite the huge assortment of assembled objects, Smith is reluctant to describe himself as a collector. “I just have a large quantity of the same things,” he says, matter of factly. “In my head, a collector is someone who selects an item or a subject. They collect them because they know a lot about them. Maybe I have a little knowledge about cycling jerseys.  In the early 1980s, on my first trips to Japan and India, I just got a bit carried away. I bought lots of Japanese furniture. In India, for some reason, I bought 15 wardrobes, and a piece of furniture that doubled as a staircase with drawers.” Smith had them all sent home on the Trans-Siberian Express.  He suggests that his is a collection that has found him. “Things collect me,” he says. “For some reason I started to be sent things, and they still keep coming.” There is an individual who regularly sends Smith artefacts that come unwrapped but covered in postage stamps. Others send him letters, toys, books and even ancient packets of razor blades. One visitor took careful photographs of his office, and later sent him a precisely detailed model of his office, complete with its chaotic contents. Smith’s London home, where he lives with his wife Pauline, is much calmer. “The house is hers. I do have one room for my stuff, but it’s mostly at the office that I get to look at things.” In 1996, patron of the arts and barrister Jill Ritblat gave the V&A Museum the largest single donation of clothes in its history, more than 1,000 items. There are ski outfits in postmodern pastel shades from the 1980s, and challenging Japanese experiments from Yohji Yamamoto and Issey Miyake, as well as couture from Dior and Saint Laurent. There is work by Alexander McQueen, Biba, Mary Quant, and Christian Lacroix, Emanuel Ungaro and Victor Edelstein, and an evening outfit produced by a dressmaker based on an idea of Ritblat’s own design.  The early days of British fashion from the 1960s are represented by Foale and Tuffin, and Zandra Rhodes, and from the 1980s by Margaret Howell and Katharine Hamnett. There is tailoring from Tommy Nutter and work by Giorgio Armani. It is by no means a complete account of contemporary fashion, but it is certainly extensive, and like the personal wardrobe that it is, combines some very special pieces made for family occasions, with more everyday wear. The connecting thread of Ritblat’s collection is Ritblat herself. These were all pieces that she had bought to wear. They were not chosen like stamps, or old masters, or celadon vases to make a self-conscious collection, but were the result of a continuing sequence of choices over time. Taken together they are a reflection of her life as an English woman of a certain background, at a particular time in the country’s history. “I never saw it as a collection, it was more like my diary, though I have never had time to write a diary. Each piece brings back memories of when I wore it,” says Ritblat. She made her first donation to the V&A at the end of 1996, but kept back the things that she wanted to be able to go on using, and they formed the core of a donation to the Design Museum of another 400 items in 2013. Ritblat is ambivalent about fashion. As a child she was somewhat self-conscious about being dressed by her mother, who had studied fashion herself. She was relieved to be able to assume the camouflage of the complex uniform rituals of an English public school for girls in the 1950s. “I loved my school uniform at Roedean; we were expected to change our clothes four times a day, as chic as anything. Scratchy afternoon dresses, regulation school loafers, very nice blazers and pleated skirts.” As a student barrister, she found herself adopting the formal uniform of the legal profession, but then as a married woman began to build a wardrobe that reflected the life that she was leading. Later, when she was making her own choices, she was early to discover Miuccia Prada. “What you pick out is based on whether it suits you and on the zeitgeist,” she explains. Smith, Heseltine and Ritblat represent three very different approaches to collecting. For Smith, the unruly mountain of things in his office, is, like the collection on Sigmund Freud’s desk, part of the tools of his imagination, a source of imagery and ideas for his work as a designer. It’s also a means of establishing his personality. Heseltine’s garden is an investment of time, resources and creativity in the remaking of a place that speaks to the future using living organisms that will outlive us all. Ritblat’s clothes are a record of the full life of an individual. All of these collections provide insights into unique people, their lives and times. In their different ways all three reflect on the nature of collecting, and its ability to be a creative activity in itself. In a world in which technology threatens to abolish the material world altogether, objects have not lost their allure. Their physical condition marks the passing of time in ways that pixels and code cannot do. Collecting is the means all of us have to create histories of our times, and even more, of ourselves. This article was originally published in FONDATA, Issue Two. 

In order to explore the mindset of the collector, Deyan Sudjic shines a light on the collected objects of Sigmund Freud and Andy Warhol, and speaks to three British collectors to better understand what it is that makes collecting such a vital part of the human experience.

Exploring the mindset of the collector and why the act is a vital part of the human experience, with a focus on Sigmund Freud and Andy Warhol

FONDATA: Exploring the art of collecting 

 I Collect, Therefore I Am

Each November, the wine world looks to Burgundy for the Hospices de Beaune auction. We dive into the history of this philanthropic institution, the domaine and the wines it produces

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Everything you need to know about the Hospices de Beaune

The four-wheel drive pulls up and we pile out – Marco Pallanti’s two Jack Russells (Bach and Masetto) leading the charge as they tumble down and into the vineyard in front of us. The vines stretch down a steep slope, three triangular slithers slanting severely to a point, forming a natural amphitheatre, and Siena’s iconic tower just visible on the horizon, 20km to the south. CEO Lorenza Sebasti, her and Pallanti’s son Arturo, our Buying Director Corentin Margier and I are standing in Castello di Ama’s Montebuoni vineyard, which gives its name to their Riserva bottling. It’s the final stop in our tour of the various sites that make up the property’s 75 hectares of vines.  Just tasting Castello di Ama’s wines tells you that this is a special place, but of course there is no substitute for getting your feet on the ground, walking the vines and seeing the site yourself. Since four Roman families re-discovered this hilltop site in the 1970s, it has been lovingly restored, with significant investment in the vineyards and winery – and the original 55-hectare estate has grown to 115 hectares today (with 75 hectares of vines and 40 of olive groves), not to mention the extensive art collection that dots the property.  The vineyards are spread across four valleys, with each site within a 1.5-kilometre radius of the winery in Gaiole-in-Chianti. For winemaker Pallanti, this proximity is one of the keys to quality, not only allowing them to really understand each site, but also ensuring there is minimal time between picking fruit and getting it into the winery. For each parcel, they aim to have the fruit in the tank in under two hours. The property all sits between 420 and 530 metres above sea-level, on the higher side for the region and another defining element for Castello di Ama, lending their wines great freshness and finesse.  The northern flank of the estate is the 16.1-hectare La Casuccia, dominated by stony clay soils and surrounded by stone walls. Here the “rich, fat soil” (as described by Arturo Pallanti) is home to largely Sangiovese, with one historical parcel of Merlot. The tenderloin of the property, it produces opulent and expressive wines, and a single-vineyard Gran Selezione is made in only top vintages (as for Bellavista).  Moving south you come to San Lorenzo which forms the foundation of the eponymous Gran Selezione, a wine made every vintage. While the vintages from 1982 to 1990 were made exclusively with fruit from this vineyard, it has evolved to become a blend of plots – including fruit from Bellavista and La Casuccia in particular in the years they aren’t made. The soils here are chalky yet with plenty of clay-rich schist – a site that doesn’t have the extremes of Montebuoni, Bellavista or La Casuccia, but brings together some of the best characters of them all in its 16.5 hectares.  Sandwiched between San Lorenzo and Bellavista lies L’Apparita, the special three-hectare plot of Merlot that is behind Tuscany’s first – and one of its most iconic – Merlot wines. Clay, chalk and the altitude (500 metres) create a wine that has both power and freshness. The neighbouring Bellavista produces some of Castello di Ama’s most powerful, yet fine and floral, wines – and is home to their oldest vines. South/southwest-facing, its 22.5 hectares of vines (around 80% Sangiovese, with the remainder Malvasia Nera) bask in the sunshine, sitting in stony, clay-chalk soils. In top vintages, they produce a single-site Gran Selezione from Bellavista (first made in 1978) – an impressive and age-worthy wine.  The final piece of the puzzle is Montebuoni – where we’re standing. Pallanti and Sebasti purchased this 14.7-hectare slice of vineyard in 1997, naming it after the village opposite. Arturo tells us how as a child he once tried to ride his bike up the slope – a mistake he never made again. The gradient here is so drastic that even driving down it in a pick-up frays the nerves, working from the chalky scree that feels destined to leave the wheels skidding, down to the more clay-rich foot of the vineyard. The vines here are divided between Sangiovese (around half the site), with Merlot, Cabernet Franc and Malvasia Nera – and the wines reflect the site’s angular slopes, pointed and driven with a backbone of bright acidity.  It’s been over 40 years since Pallanti arrived at the estate, and over 30 since Sebasti took over as CEO. Together they have nurtured this remarkable property, weaving together the threads of these special vineyards to craft wines that set the benchmark for the region. Neither are set to retire any time soon, but now Arturo has returned to join the family business – adding to the complex patchwork that defines this soulful estate.  Explore all Castello di Ama listings or read more Editorial 

We have long championed the wines of Castello di Ama – an estate that crafts some of Chianti, and Tuscany’s, best wines. We visited the property to dive into their special terroir; here we walk you through their patchwork of vineyards       

Walking you through top Chianti Classico wine estate Castello di Ama’s terroir – visiting La Casuccia, San Lorenzo, L’Apparita, Bellavista and Montebuoni

Exploring Castello di Ama’s vineyards

Piecing together the puzzle at Castello di Ama

If you haven’t already heard about Baettig, we urge you to read some of our previous coverage of this rising-star producer. Conceived by Francisco Baettig (the winemaker behind Errázuriz, Seña and Chadwick) and Carlos de Carlos (previously Commercial Director at Errázuriz, he now works for Paul Hobbs) over dinner in London in 2010, Baettig is one of Chile’s most exciting projects – crafting site-driven wines from Malleco and the Maule.  The duo spent years seeking out the right site – realising that to find vineyards that met their standards, they’d have to plant them themselves. In 2013 they put their first vines in the ground, planting Burgundy clones of Chardonnay and Pinot Noir in Traiguén, in the Malleco province. Both Francisco and Carlos had family ties to the region – making it seem like fate.  The site, however, wasn’t chosen purely for their emotional connection to the area, but with an eye on sustainability and quality. This is one of Chile’s southernmost wine regions, with red clay, clay loam and volcanic soils, cool conditions, 25% less sunshine than the Central Valley and – most importantly – plentiful rainfall, allowing them to dry-farm the vines and produce restrained, Burgundy-inspired Pinot Noir and Chardonnay with moderate alcohol levels, bright acidity and vibrant fruit. Francisco is clear that the quality of their vine material has been key to their success – as it is only relatively recently that Chile had access to high-quality, clean Burgundy clones.  While Baettig started with Chardonnay and Pinot Noir, the producer has since added Cabernet Sauvignon from old vines in the Maule to the range, unsurprising given Francisco made his name making Chile’s icon wines.  Fourteen years after they first imagined their joint project, we welcomed Francisco to London to look back at the Baettig journey so far – tasting through a vertical and exploring how the project has developed and evolved.  About the Baettig range  There are currently two tiers to the Baettig range, with the idea that a top tier, single-vineyard offering that will be their “Grand Cru” of sorts, is likely to be added in the future. The current range comprises:  Vino de Viñedo: these wines are a vineyard selection designed for earlier drinking, effectively a “village” equivalent. The Chardonnay and Pinot Noir at this level go by the name of Los Parientes (“the relatives”, a reference to the closeness of the different parcels), while the Cabernet Sauvignon is called Los Compadres (“close friends” – a tribute to the growers with whom they’re working). Los Compadres is sourced from various dry-farmed, cool plots in the more coastal areas of the Maule, with the vines all over 30 years in age and some up to 150 years old, creating lively, juicy and intense expressions of Cabernet Sauvignon. The first vintage of the Los Parientes Pinot Noir and Chardonnay was 2019, while the first vintage of the Los Compadres was 2021. These may be the entry point to the Baettig range, and they are made to drink on release, but they also – like good village Burgundy – have capacity to evolve and will only benefit from an extra year or two in bottle.  Selección de Parcelas: their “Premier Cru” equivalent range, made in smaller volumes from specific parcels and built for longer ageing. These wines see a higher proportion of new oak and longer ageing prior to release. The Chardonnay and Pinot Noir are labelled under the Los Primos name (“the cousins”), while the Cabernet Sauvignon is named Los Padrinos (“the godparents”). The Pinot Noir comes from their El Primo, Chuir, and La Cuñada parcels, chosen for their elegance, structure and ageing potential; while the Chardonnay comes from the Triángulo and Llaima parcels, creating mineral, vertical wines that are all about tension. The first Los Primos Chardonnay and Pinot Noir were made in 2016, with the first wide release from 2017, and Los Padrinos was first made in 2022. Volumes of these wines are tiny, with just 300 to 350 cases made of each of the Selección de Parcelas.  About the winemaking The emphasis with Baettig is firmly on expressing site – and as such the winemaking is very “light touch”, allowing the sense of place to shine through in the wines. The style has evolved, with the use of oak reduced a little from the earliest vintages, generally shifting toward less time in barrel, larger casks and smaller portions of new wood. The fruit is all hand-picked and fermented with indigenous yeasts. The cooler sites, combined with the way Baettig farms and when they harvest, produces fruit with naturally low pH, allowing them to use minimal amounts of sulphur (although with sufficient doses to allow the wines to age and be shipped around the world).  For the Chardonnay, it is all whole-cluster pressed and cold-settled, prior to native ferment in old French barriques. Malolactic fermentation on the Chardonnay is left to happen or not, according to the vintage conditions (with often around a third going through). The élevage for all the wines varies according to the vintage, but the Los Parientes Chardonnay normally spends eight to 10 months in cask, with up to 15% new oak, while the Los Primos spends between 10-15 months in barrel with up to 35% new oak. The new oak for the Chardonnay is all larger 300- and 400-litre casks. A portion of the Pinot Noir is whole-bunch fermented (typically 10-20%), with the rest de-stemmed – with fermentation all in used oak. The Los Parientes stays in barrel for around eight to 10 months, with up to 15% new oak; for the Los Primos, it is 15-16 months, with up to 40% new wood – with the new oak all 300-litre barrels.  For the Cabernet Sauvignon, the fruit is all de-stemmed. Fermentation temperatures are low at around 24-28˚C, with maceration for a maximum 20 days, given the natural concentration and structure of the fruit. The Los Compadres is aged for 10 months in French oak (20% new), while the Los Padrinos spends 15 months in 65% new oak (including around a third in larger 300-litre barrels).  Tasting through the range, there is a clear stamp of style – a flinty restraint, with the emphasis on crunchy fruit and minerality, vibrant acidity, moderate alcohols. While some of the earlier vintages might have offered more overt oak in their youth, this has integrated with time in bottle – and the wines offer at most a subtle spicy complexity. They are beautifully judged, pure expressions of Traiguén.   About the vintages 2022: Generally speaking, 2022 was an outstanding vintage. In Malleco, the year was cooler than average. Winter was relatively dry, with little rain in spring and cool conditions including frost in September and October, leading to particularly low yields. Weather warmed up in February before cooling again in March and April, which also saw quite a lot of rain. This resulted in a late harvest of a small crop of fruit, with great intensity, concentration and excellent tension – with high acidity levels retained thanks to the cooler conditions. In the Maule, the season was moderately warm, producing a more generous yield than further south but similarly high quality. The weather here was warmer in December and temperatures close to average from January through to March. Moderate rainfall in March and April refreshed the season and eased the final stage of ripening, with the fruit offering good acidity, colour and aromatic intensity. The 2022s offer an up-front richness of fruit, with good backbone of acidity – in some ways a combination of 2020 and 2021.  2021: The 2021 vintage was a cooler year – producing wines where the emphasis was on elegance, finesse and tension, perfect for the Baettig style. The winter in Malleco was rainy, with 650mm of water over June and July, laying the groundwork for a good budbreak. Spring was dry and reasonably warm, although a late frost in September reduced yields. Summer was cool, with some rain over December and January (90 mm in total across the two months), allowing the fruit to ripen slowly ahead of a late harvest, developing great aromatic complexity and preserving the acidity levels. These should age particularly well.  2020: This was a warmer year versus 2021, producing richer-styled wines. There was plenty of rain in June and July, however this dried up in August, with little rain for the rest of the growing season. Temperatures rose and the hot, dry conditions allowed the grapes to ripen easily, although an early harvest was key to preserve freshness and tension to complement their natural intensity and generosity. Offering a little more flesh, particularly at this more youthful stage, versus the 2021s, the 2020s are juicy and open, yet with everything in balance. The one we’d pick for drinking now, although there is certainly no rush here.  2016: A rainy winter led on to a cool and rainy spring, with later-than-normal flowering and fruit set and a small crop. Summer was dry and largely warm, and the fruit was harvested early, producing wines that combine refreshing acidity and good density of fruit. The 2016 Los Primos Pinot Noir and Chardonnay were never released, the tiny volumes of Baettig’s first crop, so it was a real treat to taste these special bottles, offering a glimpse of the wines’ ageing potential – with both drinking beautifully.  The vertical: tasting Baettig Chardonnay 2022 Vino de Viñedo Los Parientes Chardonnay: This was really showing well, even though it has only just been released. It’s tight, full of energy, with a punch of minerality, bright taut citrus and crisp green apple. It’s lean and sleek, but with a fleshy, juiciness that makes it hard to resist now. A wine that’s singing. Aged for eight months in 15% new oak. Production: 7,254 bottles  2021 Vino de Viñedo Los Parientes Chardonnay: There’s a lick of lime curd on the nose here, with tightly wound greengage emerging with air. It’s pure and linear, driven with its intense, stony purity, but there’s a pleasing fatness to the fruit behind, with a mouth-wateringly juicy finish and long, saline tang to the finish. Aged for 10 months in only used oak. Production: 16,909 bottles  2020 Vino de Viñedo Los Parientes Chardonnay: The warmth of the 2020 vintage, combined with the cool climate of Traiguén and Baettig’s trademark flinty, lean style, has created a gorgeous Los Parientes in 2020. Now with a few years in bottle, it’s drinking beautifully. The wine remains taut – dominated by vibrant citrus that drives through its core, and the bright acidity brings incredible tension. Yet, there’s also a softness to the wine, with a suppleness to the palate and its ample riper stone fruit that flawlessly complements the mouthwatering zest of the long finish. Punches well above its weight. Aged for 10 months in 10% new oak. Production: 15,240 bottles  2021 Selección de Parcelas Los Primos Chardonnay: The 2021 Los Primos is incredibly impressive – and the step up from Los Parientes clear. There’s a creamy, lactic note on the nose, working alongside lemon curd, honeysuckle and bright citrus and green fruit. There’s a lushness to the fruit, with gorgeous length and energy, outstanding tension and an everlasting finish, with stony, saline minerality that lingers long after the wine is gone. You can drink this now, but it will be even better if you can give it a couple of years in bottle. Aged for 15 months in 35% new oak. Production: 3,480 bottles  2020 Selección de Parcelas Los Primos Chardonnay: Much more open now than the 2021, the 2020 Los Primos is rich and concentrated, with riper white peach fruit and honeyed complexity. There’s a softness to the wine, reminiscent of the suppleness of the 2020 Los Parientes, but additional depth here. It’s round and enticing, still with a backbone of taut acidity, and a long finish with just a touch of oak spice. Hard to resist now, drink this over the next five years. Aged for 15 months in 38% new oak. Production: 4,069 bottles  2016 Selección de Parcelas Los Primos Chardonnay: The first vintage of Selección de Parcelas, with the very first fruit from the Baettig vines, and never released. The 2016 is showing some beautiful development, with honey, sweeter plump peach and nutty complexity. Cooked apple and dried mango sit alongside a zing of limey citrus, with a line of bright acidity that runs through the palate and brings lovely energy. Gorgeous. Aged for 16 months in only used oak. Production: 2,160 bottles  Pinot Noir  2022 Vino de Viñedo Los Parientes Pinot Noir: There is 10% whole-bunch in this vintage, and combined with the youth of the wine, it is shining on the nose – with overt pepper spice, floral perfume and stemmy complexity that makes it aromatically enticing. The palate is pure and bright, with juicy but concentrated mulberry and black cherry, with a saline edge and fresh, chalky purity. Incredibly moreish. Aged for eight months in 14% new oak. Production: 13,205 bottles 2021 Vino de Viñedo Los Parientes Pinot Noir: For this cooler vintage, Francisco opted to reduce the portion of whole-bunch fermentation a little. The wine is bright, crunchy and pure, with a lovely restraint from the extended growing season. Floral tones (rose, violet) sit alongside crunchy red fruit, leading to a palate of effortless purity and length. Vibrant, mouth-wateringly fresh with an earthy, saline finish and very fine tannins. Aged for 10 months in 10% new oak. Production: 13,400 bottles  2020 Vino de Viñedo Los Parientes Pinot Noir: This is in a lovely spot right now – sharing the supple texture of its Chardonnay sibling. It is beautifully elegant, with tealeaf aromatics, gentle spice and crunchy berry fruit. Structurally, it is fine-boned – the fine, chalky tannins adding a graceful outline to the mouth-watering fruit. Gloriously fresh, the finish is saline with the slightest hint of smoke. Dangerously drinkable and incredible value. Aged for 10 months in 10% new oak. Production: 15,180 bottles  2021 Selección de Parcelas Los Primos Pinot Noir: This is such a baby at the moment – and clearly needs time to reveal its full potential. It’s much more savoury than the 2020. There’s some gunflint reduction, but beneath that smoky intensity and an earthiness, alongside the subtle florals, bright redcurrant and raspberry. There’s more grip to the tannin, a tightness to the fruit, but the structure and length offer great promise. A wine of tension. Made with 20% whole-bunch fermentation, aged for 16 months in 34% new oak. Production: 3,409 bottles 2020 Selección de Parcelas Los Primos Pinot Noir: It’s immediately evident that this is Baettig’s Premier Cru – with notably more concentration and complexity. The warmer 2020 vintage produced a vibrant and intense wine, with vivid, juicy red cherry and raspberry fruit, complemented by more delicate floral notes. Alongside the impressive weight of fruit, there’s a pomegranate freshness and mineral line, with the slightest hint of smoke and spice, and a framework of superfine, supple tannins. Made with 20% whole-bunch fermentation, aged for 15 months in 38% new oak. Production: 4,102 bottles 2016 Selección de Parcelas Los Primos Pinot Noir: This was, for me, the star of the tasting. The nose was effortlessly complex, shifting between soft florals, spice, violets and crunchy red fruit, with a dried-earth note too. There was a glorious suppleness here, silken and flowing across the palate, with a fine, chalky texture to the tannin, juicy cherry and a subtle, savoury finish. Beautiful. Everything was destemmed in this vintage and the wine aged exclusively in used oak. Production: 1,440 bottles  Cabernet Sauvignon  2022 Vino de Viñedo Los Compadres Cabernet Sauvignon: This is a glorious expression of bright, modern Cabernet – pure and pristine with crunchy red and black fruit, vivid pencil shavings and an herbaceous green-pepper edge. There’s such intensity to the palate, with its tart red berry fruit, mouth-wateringly fresh and juicy. The abundant fruit is framed by graphite tannins, leading on to a spicy finish. Aged in 20% new French oak for 10 months. Production: 17,000 bottles  2022 Selección de Parcelas Los Padrinos Cabernet Sauvignon: The first vintage of Los Padrinos is only offering more since we first tasted it in February. It’s strikingly different to Los Compadres – a much darker, spicier and smokier expression. The two wines share their tension, with firm acidity that forms the backbone of this wine and drives the long finish, as well as gloriously crunchy and fresh fruit. The nose is savoury and brooding at first, but sweeter plum and cassis fruit lurks behind, while there’s a tart, bright bite to the palate. It still feels compact at this youthful stage, the power and gum-drying tannins needing time to unfurl. Aged for 15 months in 65% new French oak. Production: 1,800 bottles  Explore all current listings of Baettig or read more Editorial

Last month, we welcomed Francisco Baettig to London, guiding us through a vertical of his stunning Chardonnay, Pinot Noir and new Cabernet Sauvignon from Chile’s south. Here, we unpack the Baettig story, style and how each vintage of this exciting project is drinking right now

Tasting through a vertical of Baettig’s Chilean wines: Chardonnay and Pinot Noir from Traiguen, Malleco, and Cabernet Sauvignon from the Maule

Baettig vertical, tasting these top Chilean wines

The story so far: Baettig vertical

Burgundy expert Jasper Morris MW has had his finger on the region’s wine pulse for several decades. Especially for FONDATA, he profiles eight domaines to watch, producers that are bringing vital energy and fresh winemaking talent to the celebrated wine region 

Jasper Morris MW on eight of Burgundy’s most exciting domaines – including Eleni & Edouard Vocoret, Chantereves, Alvina Pernot and more 

The new Burgundians – Jasper Morris MW 

The new Burgundians

The latest from Latour In the wake of last week’s launch of the 2016 vintage of the First Growth’s third wine, Pauillac de Latour, the Pauillac powerhouse will be releasing the 2013 vintage of the Grand Vin, as well as 2015 Les Forts de Latour, its second wine. The 2013 is only the second vintage of the Grand Vin that the property has released since it moved away from en primeur – and there’s no doubt, despite the vintage’s sometimes maligned reputation, that this is going to be highly sought-after. New from Champagne March brings with it a bounty of fine fizz releases. Top of our wish-list are the new wines from Henri Giraud – a House that produces small volumes of outstanding, terroir-driven wines, almost all of which are oak-fermented (and is, for that reason, often compared favourably to Krug). We’ll see the latest release of its multi-vintage cuvée (described by Jancis Robinson MW as “a sort of Montrachet of Champagne”) and the new, 2013 vintage of their top wine, Argonne. Keep an eye out also for 2007 Bollinger R.D. and Pol Roger’s 2012 Sir Winston Churchill.  Single-farm spirits The unfailingly modish and exciting Irish distillery Waterford has been making waves in recent weeks, having scientifically proven terroir’s influence in whisky. This month will see the latest spirits from the Irish distillery released – two single-farm single malts that offer a chance for you to explore the concept yourself. One comes from Hook Head – a site on the southern coast with clay-loam soils, while the other hails from Lakefield, with deep loam soils in County Laois. Burgundy There are still a few 2019s emerging from the Côte d’Or – including wines from Domaine des Lambrays and Le Grappin. Clos des Lambrays was a stand-out from our trip in October last year, while Aussie Andrew Nielsen’s Le Grappin wines (a darling of London’s restaurant scene) offer brilliant value year in, year out. The 2021 collection from Maison Leroy has almost entirely sold out, however we’ll also see the latest releases from the rest of Lalou Bize-Leroy’s empire – Domaine Leroy and Domaine d’Auvenay. Available, as ever, in tiny volumes, these are some of the world’s most collectable wines, and unmissable for Burgundy aficionados. Italian icons After a series of superlative 2016s from Brunello, Tuscany is on the mind. While Castello di Ama’s 2017 San Lorenzo is already available, the 2018 vintage of the Chianti Classico property’s flagship wine, L’Apparita, will be released in the coming weeks. Tasting through a selection of the range with our team, CEO Lorenza Sebasti told us that she and winemaker Marco Pallanti feel it’s “the best we’ve ever made”. We’ll also see the new vintage of Ornellaia’s entry-level bottling – Le Volte dell’Ornellaia, which provides an affordable and earlier-drinking taste of this Super Tuscan estate, ahead of the release of Ornellaia “proper” in April.

A new month brings another flurry of fine wine and spirits releases. While Bordeaux en primeur is on the horizon, March sees new vintages from Latour and the Grandes Marques, as well as releases from Tuscany, Burgundy and Ireland’s most exciting distillery: here’s our pick of the bunch

A new month brings another flurry of fine wine and spirits releases. Here, we pick the best of the bunch – from Latour, Castello di Ama, Waterford and more 

The wines and spirits to look out for this March

What to look out for this March

Humble yet with undeniable ambition, Jacques Devauges arrived at Domaine des Lambrays in March 2019 and has wasted no time in making small but significant adjustments at the estate. His appointment was the most recent in a flurry of changes that have made waves in the quiet of Burgundy, after the property was purchased by LVMH in 2014 for an undisclosed sum – the luxury group’s first foray into Burgundy.    While the first mention of “Cloux des Lambrays” dates back to 1364, it was really in the 1980s that its modern reputation was established. The vineyard had fallen into disrepair, but was bought by Roland de Chambure and the Saier brothers in 1979. They installed Thierry Brouin as winemaker and director, together restoring the property to its former glory. Thierry, in Devauges’s words, “rejuvenated” the estate – staying at the helm for 38 years, overseeing the property under three different owners before finally retiring in 2017.  Boris Champy had already been lined up to take over, but stayed a mere two years before Devauges was poached from Clos de Tart (where he’d been since 2015, previously Domaine de l’Arlot). In the humdrum of Burgundy, Champy’s sudden departure was big news – as was Devauges’s sudden arrival, although everyone has remained suitably tight-lipped on the topic.  While Domaine des Lambrays does own some village and Premier Cru Morey-Saint-Denis, as well as some Puligny-Montrachet Premier Cru, the domaine’s reputation is inextricably entwined with that of the eponymous Clos des Lambrays. This remarkable site – one of Morey’s five Grands Crus, along with Clos de la Roche, Clos Saint-Denis, Clos de Tart and Bonnes-Mares – was originally classified only as a Premier Cru. It was only in 1981, under Thierry Brouin’s tenure and significant work in the vineyard, that the site was rightfully upgraded – making it the last of Burgundy’s 33 Grands Crus to earn its status.  Such is its association with the domaine that Clos des Lambrays is often mistaken for a monopole; however it isn’t quite. One ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belongs to Taupenot-Merme. Originally a vegetable garden, it was planted with vines in 1974, and produces a tiny amount of wine (no more than one barrel in the most generous years).   Visiting in October 2020, it was clear that Jacques Devauges has big plans – and if 2019 is anything to go by, there is much to look forward to. Coincidentally, Devauges wasn’t new to the estate – having worked briefly in the winery under Brouin in 1997. He’s full of praise for Brouin’s work and clearly wishes to respect the enormous legacy he’s been handed. His aim, however, is to recreate the old Domaine des Lambrays of the early 20th century – before the vineyard fell into disrepair in the 1930s.  There have already been a few shifts, with the construction of a new winery underway and 2019 the first fully organic vintage, and the property – as of 2020 – in conversion to biodynamics. This is no small feat given some of the site’s peculiarities. After phylloxera, the vine rows were planted north to south, perpendicular to the slope. This is an angle that little machinery can handle (with a serious risk of toppling over) and as such almost all the work here has to be done by hand, however Devauges has had a special tractor made that can handle the site’s undulating terroir. A relatively large site, it’s unsurprising that the soils here vary. While broadly speaking it is a rocky clay, the bottom of the site is heavier clay and loam, while the midslope is more gravelly over deep limestone, and the very top has shallower limestone soils. As he gets to know the Clos, and differences between each sub-parcel, Devauges is vinifying each one separately, laying the barrels out in the same way as the vineyard – so he can figuratively walk the rows, identifying the character of each. For Clos des Lambrays, he has divided the site into 10 sub-plots (see the map below), however he identifies three major sections of the vineyard: the section near Clos de Tart, the middle and then the side closer to Clos-Saint-Denis.  Tasting three components of the vineyard separately, and then together, with Devauges was enlightening. First up was La Plante Dessous, on the Clos Saint-Denis side, home to some of its “youngest” vines – which are still 40 years in age. The wine produced here is tight and intense, building gradually in the mouth with silky tannins and an amazing purity of blueberry and blackberry fruit. Cerisier, a plot at the bottom of the slope near Clos de Tart, is drastically different. This is full, exotic, rich and ripe – yet with a real freshness and a chalky minerality beneath. The final section we tasted was 80 Ouvrées Dessus – right at the top, middle part of the vineyard. Angular and structured, it showed remarkable energy and intensity – a core of vibrant blue fruit and firm tannins. In the resulting final blend, you can feel every element – except with the dial turned up to max.   Unlike Brouin, Devauges feels it is important not to select the best barrels, and “blend” a wine, but to seek “as much truth as possible”. While he is declassifying the very youngest vines (those under 20 years in age) to their Premier Cru bottling, he feels that they have a responsibility to capture the site in its entirety – using whatever nature provides. “Here, we are farmers,” he says modestly, with a suitably Gallic shrug. The resulting wine is the one true expression of this site – and that’s clearly where Devauges’s focus lies, something that will doubtless evolve in the coming vintages. “Every year is a new page,” Devauges told us. If 2019 is the preface, we look forward to seeing the story unfold. Browse all wines from Domaine des Lambrays or read more Editorial 

The 2019 vintage was significant at Domaine des Lambrays not just for its exceptional quality, but as the first full year under new winemaker Jacques Devauges. We visited the property to find out more 

Exploring the first full vintage at the Burgundian estate Domaine des Lambrays under new winemaker Jacques Devauges 

Changing of the guard at Domaine des Lambrays

Foris Vineyards Winery

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This item is at FINE+RARE, available for storage, transfer or delivery.
 Most UK deliveries can be made within 3-5 working days, with next day delivery for London;
 an exact date will be available when arranging delivery.
 International deliveries have longer lead-times, please contact us for details.

This item is at FINE+RARE HOME Hong Kong, available for delivery or local pickup. Most Hong Kong deliveries can be made within 3 working days, an exact date will be available when arranging delivery. International deliveries have longer lead-times, please contact us for details.

Wines sold en primeur will be released from the producer after bottling, typically 18 months after the so-called campaign ends. Your wine will then be stored by FINE+RARE in a bonded warehouse until you decide to take delivery.

We will source this item at the guaranteed price from our network of suppliers and arrange expedited shipment to FINE+RARE.
 The lead-time depends on many variables, but 2-4 weeks is typical for expedited sourcing.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

We will source this item at the guaranteed price from our network of suppliers and arrange shipment to FINE+RARE.
 The lead-time depends on many variables, but 6-12 weeks is an average estimate.
 Once your order is confirmed, we'll keep you updated on its ETA.
 Every item is checked on arrival by our expert team, with photographs available on request (please note that charges may apply).

Foris Vineyards Winery

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