There are times when you put a question to a winemaker and he puffs out his cheeks and rubs his chin and you know he’s thinking, ‘Journalists.’ When I ask Promontory’s David Cilli what exactly is meant by ‘interpretation of terroir’, he courteously describes the process of trying to get the wine to reflect the character of the land. But he gives the impression my question was like quizzing Monet on how he got his effects. If you don’t get it, you probably won’t. The character of Promontory, on the day I visit, is quite something. It’s early May and the rain, which has been falling steadily all night, has turned to a lashing downpour that has raindrops bouncing six inches off the windscreen. We’re in a jeep piloted by winegrowing director Cory Empting and since turning off the main road we’ve been climbing steadily through dripping stands of oak with pocket-handkerchief vineyards between them. ‘Shall we stay in the car?’ asks Empting. ‘If we could,’ Will Harlan suggests from the back seat. I’m here with Empting, Cilli and Harlan. Bill Harlan has appeared briefly but I don’t see him again until we sit down to taste. He formally handed over control of Harlan Estate, Promontory, Bond and The Mascot in 2021, appointing 37-year-old Will managing director. Cilli (44) arrived in 2012 and is in charge of vineyard and winemaking at Promontory. Promontory is an 840-acre fastness, a deep valley folded into the foothills of Mount Veeder, on the west side of the Napa Valley. From the highway, you think the looming ridge you’re looking at is the edge of Sonoma. But there’s another ridge beyond and between them this interesting domain. It’s remote, even by Napa standards (contrary to opinion, there are plenty of wild spaces in the county). The ultra-refined French Laundry is a couple of miles away but it might be in Wisconsin for all the relevance it has up here. Bill Harlan had come upon it hiking in the 1980s. ‘I used the Carmelite monastery [we’d passed it on the way up] as a base and just started climbing’. There were no vines but he was intrigued by its seclusion. It might be possible vineland for the Napa project he had in mind. In the end, Harlan Estate was founded less than a mile to the north but for 25 years Harlan kept the idea of that parcel tucked under his hat (he never mentioned it, Will says) before it came on the market in 2007 and he snapped it up. "Vineyards, some a mere half-acre, are etched into towering, wooded hillsides and drop down into cavernous combes dense with oak and fir" The owner – the Harlans don’t reveal who that is – had planted 80-odd acres of Cabernet Sauvignon. It was neglected, the vines overgrown. Trees had been felled and never collected. ‘It was a mess,’ Will says. ‘It looked like a logging operation.’ But it is magnificent. Vineyards, some a mere half-acre, are etched into towering, wooded hillsides and drop down into cavernous combes dense with oak and fir. The whole estate is thickly forested, the vines often shaded on three sides. An old drovers’ road, running through the woods, will suddenly open out on a wide vista of vineyard and scree. Everything is deeply, lushly green in the steadily falling spring rain. The geology of the land is unusual, in that it rests on two distinct fault lines and consists of all three soil types that are found in Napa: volcanic, sedimentary and metamorphic. ‘You get all three in the same soil pit,’ Cilli notes. This, combined with the wild variation in aspect and the microclimate of the valley-within-a-valley, gives credence to Harlan’s claims that this part of Napa is like nowhere else in California. When the celebrated soil scientists Claude and Lydia Bourguignon came, they found the experience ‘novel’. Cilli said he fell in love with Promontory at first sight. It reminded him, in part, of his native Tuscany, but it was the wildness that captivated him, ‘I love that character that you can see in the wines.’ He said it was probably ‘the only project that could keep me in the valley.’ You get the impression none of them can quite believe their luck. ‘It somehow redefined what looks beautiful,’ Will says. It also redefined their ideas of winemaking. He goes on: ‘We were used to control. Harlan in the 1990s was obsessed with organisation and uniformity but Promontory was wild.’ The theme of wildness recurs. Harvest times are key to ‘find a way for it to come through,’ Will says. Empting: ‘Pick too late and you lose the ruggedness.’ Ageing, in the magnificent Howard Backen-designed chai, is all in Stockinger Austrian oak barrels ranging in size from 10,000 to 46,000 litres, for up to 36 months. ‘The fine-yet-tight tannins required longer barrel-ageing but [we] didn’t want the wine to be overpowered by new oak’. It’s a constant process of refinement and improvement – ‘we learn something new each season’. Empting: ‘It has blown every expectation out of the water. We were excited and we were scared. We didn’t know what this beast would be. Our learning curve has been very steep, it remains very steep. At least now we’re starting to get our arms around it but at the beginning, it was like: God, we cannot figure this thing out.” "I found in the 2016 a moment where the various elements come together: the savoury nose, the fine tannins, the weight without heaviness" You have to remember we’re talking about winemaking here, not Wittgenstein. But ‘interpretation of terroir’, if it’s to mean anything at all, should be taken seriously. I’ve seen vineland all over the world – rock-strewn fields in the Andean foothills, rainless Spanish deserts – but I’ve never seen anything like Promontory. Were I to be tasked with bottling the soul of that vineyard, I’d reach for metaphor as well. And so we come to the missing shade of blue. This is the concept propounded by the 18th-century philosopher David Hume, that an idea can be formulated without a previous sensory impression to give rise to it. He asked, Could a shade of blue missing from a spectrum be imagined by an observer? Harlan says (with a smile – he does have a degree in philosophy) that Promontory is the missing shade of red. ‘Until you’ve seen and experienced it, you don’t know that it’s missing. And so for us this was that final piece. The piece that wasn’t there that we had the opportunity to understand and try to translate into the wine.’ The next morning, in gorgeous May sunshine, we gather to taste. It’s almost the same group, though smaller, that did the mighty vertical of Harlan estate from magnum in 2020. Bill Harlan is there (he sweetly thanks the team for allowing him to taste, saying it’s the first full vertical of Promontory he’s ever done), Will, Empting, Cilli and the journalist Elaine Brown. We wonder, at the end, if there is thread that runs through the wines. In my notes the words ‘deceptively light’ recur, as do ‘structure’ and ‘stone’. Reaching for metaphor again, Will Harlan compares the structure of the 2016 to cathedral stone, which has ‘both weight and lightness. It’s intricately carved and light filters through the windows.’ I found in the 2016 a moment where the various elements come together: the savoury nose, the fine tannins, the weight without heaviness. Will Harlan calls this vintage an ‘inflection point’ and notes how the tannins are the ‘main differentiators’. Yes, agrees Cilli, ‘and because of the character of levity and lift, we have to be precise with the tannins.’ The younger vintages have an astonishing latent energy, tannins under tight rein, aromas bursting, the fruit compacted. Brown and I were struck not by the sophistication of these wines but by their honesty. Brown WhatsApped me later. ‘Promontory is the most transparent to place. The wines are impressively well crafted and elegant while still offering an almost wild or primal complex of flavours.’ "The wines are unmistakeably Californian but they are also unlike anything I’ve tasted in Napa" ‘How do we take wine from a wilderness and have sophistication?’ Will asked. It’s a great question – with their resources, the Harlans could do anything they liked with Promontory. After all, they have to make a wine that will please their audience. But this was so unexpected. The tasting revealed a keen focus on the land and the vintage. The difference between the years was often marked – the challenge of 2015 for example showed in the wine – yet we could see that common thread running through, even as the wines increased in elegance. And what of Will’s quest for the missing shade of red? The wines are unmistakeably Californian – that splendid 2017 could come from nowhere else – but they are also unlike anything I’ve tasted in Napa, which is quite a claim, in the world’s most cultivated wine region. Perhaps the last word should go to Bill Harlan, who started the whole thing. He speaks hardly at all during the tasting, his Old Testament face giving little away. At the end of the morning, he talks of his fascination with the ‘ongoing discovery’ of the project. The wines have character, layers and depth, he says, and – by way of praising their authenticity – he notes, ‘You never know what’s coming next.’

Written for Club Oenologique, contributor Adam Lechmere visits California to trace the evolution of Promontory, one of Napa’s most magnificent sites, with a vertical tasting of 14 vintages revealing the wild beauty, elegance and remarkable evolution of its wines.

Written for Club Oenologique, contributor Adam Lechmere visits California to trace the evolution of Promontory, one of Napa’s most magnificent sites.

Wildness captured: tasting 14 vintages of Promontory

Every now and then, the word ‘singularity’ is used to describe a particular wine that stands apart, for whatever reason, from other wines of its type. But just what is singularity, and how can wine express it? Wine writer Tamlyn Currin investigates.

What makes a wine truly singular? Tamlyn Currin explores the rare bottles that defy convention and challenge the rules of the wine world.

Searching for Singularity in wine

Searching for Singularity

Lebanon's lost legacy: viticulture Despite being more southerly than the great wine regions of Europe, the Beka'a’s elevated altitude on average around 1000m above sea level – means that it’s a full 10ºC cooler than Lebanon’s Mediterranean coastline. The climate is positively European with wet, often snowy winters and warm, dry summers. It’s very well suited to winemaking, a local craft that dates back millennia. Lebanon itself is geographically situated in the cradle of civilisation. It was here, even before
the Greeks and Romans emerged as dominant cultures in the Mediterranean, and the Canaanites (later known as Phoenicians), peace-loving traders from the Levant, established some of the earliest known well-organised cities: the trading ports of Byblos, Sidon and Tyre. Phoenician culture was at its peak between 1500 and 300BC – a period that saw them explore and dominate the Mediterranean, developing trade routes, setting up outposts and cities as far afield as North Africa (Carthage, now Tunis, Tunisia) and the Iberian peninsula (Gadir, now Cádiz, Spain). The word ‘Phoenician’ directly connects the people of the Levant with both an impressive entrepreneurial spirit and an awe-inspiring work ethic. More precisely, it is an exonym originating from ancient Greek that describes Tyrian purple. This highly prized dye was a major export of the Canaanite port towns, in particular Tyre, hence the name. The labour-intensive production of the colour involved collecting the mucous secretions of thousands of sea snails. 12,000 snails yield a paltry 1.5 grams of dye – which is why it was so highly prized and the clothes it coloured were reserved for royalty. Tyrian purple was not the only ingenious product that the Phoenicians exported. Their legacy also includes the invention of glass-blowing techniques, and the development of the very first abstract (non-figurative) writing system (from which the Greek alphabet was derived) is credited to the Phoenicians and their Canaanite ancestors. It was almost certainly developed primarily to keep records of sales and ultimately function as an essential accounting tool. We also have the Phoenicians to thank for the word ‘Europe’ – which comes from their word ‘Erob’ meaning ‘where the sun sets’. While it is thought that the world’s first-ever wine was made over 8,000 years ago in the Caucasus Mountains between the Black and Caspian Seas to the northeast of the Levant, it was the Phoenicians that produced, exported and made famous the ‘fragrant wines of Lebanon’ mentioned in the Bible’s old testament (Hosea 14:7). And with their grip on Mediterranean trade, they marketed it and exported it along with, crucially, the knowledge of how to make it. The agricultural treatises of Carthaginian writer Mago, (thought to be writing around 350 BC) were among the most important early texts in the history of wine to record ancient knowledge of winemaking and viticulture. It’s important to remember the function of wine in society in Phoenician times. It wasn’t just a drink. It was, rather like the Tyrian purple dye, complicated and labour intensive to make, exceptionally highly prized and valuable and not just because of how it tasted – but because of its effect and function.  Biomolecular Archaeologist Professor Pat McGovern at the University of Pennsylvania Museum is a specialist in fermented beverages and his research reveals more about wine in Phoenician life. “The wines of ancient Lebanon and Syria,” he says, “were much more than a technological marvel. They were the social lubricants to break down barriers, stimulate music and the arts and bring people together. They were the supreme religious symbol for prosperity and well-being, in life as well as death. And they were the medicines for dissolving and dispensing botanicals, to rest the weary, relieve pain and cure disease.” Taking their wine to the Pharoahs of Egypt and further west to Portugal to trade it for local silver and tin, Phoenician winemaking equipment has been discovered in Valepeñas in Spain. As Phoenicians established Cádiz (Spain) as early as 1100BC, it is most likely that Phoenician wines – not Roman wines – were the forerunners to sherry. Perhaps the most enduring legacy of these seafaring traders was, in fact, the propagation of ancestral grapevines from the Levant that ampelographers believe gave rise to several modern grape varieties in Europe. According to research published by the University of California-Davis on the Integrated Viticulture Online Database, the French wine grape Mourvèrde may have first been introduced to the wine region of Catalonia around 500BC. By 64BC, Seleucid Syria and Lebanon had been annexed to the Roman empire by emperor Pompey. Peace and prosperity followed as the people of Byblos, Tyre and Sidon were granted Roman citizenship. Trade boomed and new wealth generated from exports of cedar, pottery, jewellery, perfume, purple dye and wine to Rome, enabled an era of widespread construction and urban development. One of the building projects the Romans invested in at this time was the enhancement of the already millennia-old temple complex at Baalbek in the Beka'a Valley. At a site which the Greeks and the Romans referred to as Heliopolis 'the City of the Sun' (where Phoenician god Ba’al had once been worshipped), the Romans rebuilt and reconsecrated the temples to their gods Jupiter, Venus and Bacchus, gods of wine, fertility, ritual madness, festivity, dance and theatre. The 700-acre site remains, to this day, the largest and best preserved Roman temple complex anywhere in the Empire. How the ancients moved the 800-ton quarried stone blocks that form the base of the temples still baffles the world’s brightest engineers. The temple to Bacchus at Baalbek is a monument to the importance of wine in the region, and the site became a symbol of Lebanon itself in the 1960s, thanks to the cultural impact of the Baalbek International Festival. Established in the mid-1950s, the festival brought celebration, theatre, music and dance back to the site through performances by international music stars and, crucially, nurtured and celebrated home-grown talent, perhaps most famously Fairouz and the Rahbani Brothers who became huge stars in Lebanon and right across the Arab world. Lebanon’s potent winemaking heritage is not lost on the makers of Chateau Musar. Far from it. As well as its vineyards in the Beka'a, the winery also grows vines near Byblos and the Hochar family’s charismatic winemaker, Tarek Sakr, is as passionate about the history of the land as he is about the grapes he grows there. “Byblos has been known since Phoenician times as an exporter of cedar wood and wine,” he enthuses. “Vines were cultivated in the hills surrounding Byblos, fermented in stone vats dug into the landscape. Then, the wine was put in Canaanite jars (these were the predecessor of the Greek amphora – yes, Phoenicians invented these too), sealed with resin to stop oxidation, and taken to the harbour for export.” Tarek also tells of a recently discovered archaeological site in the village of Edde a few kilometres from Byblos. “The site suggests that most of the hills near the city have been growing vines for thousands of years. This makes sense as the place where our nearby vineyards are located, on a hill overlooking Byblos, is called Vines Passage. You can smell the history of winemaking here. This is undoubtedly the birthplace of viticulture.” While he has spent many years planting and tending to its vines as an integral part of the Musar winemaking process, Tarek’s knowledge of and connection to the land and its ancient traditions run even deeper than his many years of experience. The result of a DNA test found that he is genuinely of Phoenician descent. It would seem that when it comes to Lebanon’s unrivalled contribution to the world of wine, we still have much to thank the Phoenicians for. Explore more Editorial 

Most of Chateau Musar’s vines are grown in Lebanon’s Beka'a Valley, a fertile plain about 30km east of Beirut, situated between Mount Lebanon on the west and the Anti-Lebanon mountains to the east. 

Most of Chateau Musar’s vines are grown in Lebanon’s Beka'a Valley. We look into the viticultural legacy of the region and the impact of the cultural heritage

The wines of Lebanon

The wines of Lebanon: a phoenician phenomenon

It’s not every day that you get to taste wines made over half a century ago – but earlier this month I got to trace CVNE’s flagship Imperial Gran Reserva all the way back to the 1947 vintage. Victor Urrutia, the fifth generation of his family to take the helm of this legendary Rioja producer, put together a tasting of what he called “the dirty dozen” – lining up 12 vintages of Imperial. The wines were chosen to show how the wine speaks across a range of vintages – not just the most famous, but the hot, the cold, the mighty and the mediocre.  CVNE has been making wine in Rioja Alta since 1879, so – even going back to 1947 – this tasting offered just a snapshot of its history. Imperial was created in the early 20th century (1917 is the earliest vintage Urrutia himself has tasted), conceived as “super Rioja”, Urrutia explained. The idea was to make the best wine possible, regardless of its commercial potential, at a time when Rioja didn’t have the prestige of today. Around 50,000 bottles are produced, but – importantly – Imperial isn’t made in every vintage, with the quality of the fruit in some years not meeting CVNE’s stringent standards (there was no 2003, 2006 or 2013, for example, and there won’t be a 2023 either).  For Urrutia, the goal with Imperial now is to reflect each vintage, and fine-tune the wine rather than look for revolution. The early vintages are their benchmark and inspiration. Across the vintages, however, Urrutia points to a “churchy” nose – something he finds is distinctly Imperial and reminiscent of the winery.  It’s easy, perhaps, to forget how well Rioja ages – and not just over a decade or two, but over half a century. The oldest vintage in this tasting, the 1947, was undoubtedly the star – a wine that has retained its freshness, with delicate aromatics and a beautifully long, pure, resolved palate. The entire flight impressed – with the quality of Imperial shining through. Some of Rioja’s legendary vintages featured (the 1970 and 1959, which sit alongside the likes of 1982 and 1964 in the history books), but my personal favourites were the aforementioned 1947, the still compact 2004 (named Wine Spectator’s Wine of the Year in 2013), the brooding 2011 and pretty, elegant 2018.   The Imperial vineyards  The fruit for Imperial Gran Reserva comes from CVNE’s best vineyards, all over 40 years in age and almost all bush vines, yielding around 4,000kg/ha (equivalent to circa 25hl/ha or less than 1.5 tons/acre). The parcels all sit close to the Cantabrian mountains, at around 500-600 metres’ altitude, and on poor but cool soils (clay and limestone) – lending the wines great freshness, even in hot and dry years, explains longtime Technical Director María Larrea.  The village of Villalba de Rioja has been the backbone of the wine since its conception. This village was where the Real de Asúa brothers (who founded CVNE) first bought vineyards, four kilometres from Haro. The vineyards are steep and south-facing, exposed to the winds and some of the vines therefore have to be trellised (cordón Royat), but it brings acidity and freshness to the wine – something that is essential for its ageing potential. Parcels in the villages of Briones and Torremontalbo were added later, in the 1960s. Briones has richer soils, gentle slopes and a warmer climate, giving structure and body to the wine, while Torremontalbo has steep, stony slopes with calcareous soils and a significant diurnal shift, adding minerality and finesse to the blend.  The Imperial blend  The blend has shifted over the years, with the wine originally around 40% Garnacha and 40% Tempranillo, with the remaining 20% Graciano and Mazuelo. The old vineyards were field blends, with the varieties interplanted and harvested together, meaning mixed ripeness levels – something that arguably brought balance and complexity to the wines, even if some of the fruit wouldn’t have been ripe. Nowadays, each variety is planted separately at CVNE – allowing them more control and precision, harvesting each grape at the perfect moment and crafting a blend in the winery.  There was a move away from Garnacha in the 1970s, with more and more Tempranillo planted instead. Garnacha was less appreciated, seen as a workhorse, an impression that was only reenforced when lesser, high-yielding clones were planted in the 1980s and 1990s. As Larrea also noted, Garnacha is much more prone to coulure and millerandage (poor flowering and fruit-set), which may have been another factor in its decline. There was also a time, Urrutia explained, when Bordeaux was the reference point for fine wine, and they looked to imitate the region, favouring Tempranillo for its darker colour versus the more thin-skinned and therefore pale Grenache. Today, the blend is dominated by Tempranillo (with the 2017 and 2018 Imperial both 85% Tempranillo), but Grenache is undergoing a revival across Rioja and – provided they can have the right clonal material and/or older vineyards – it may contribute more to the blend in time.  The proportion of Graciano and Mazuelo has been reduced slightly, but Larrea emphasises how important the two grapes are in the face of climate change. Mazuelo (aka Carignan/Cariñena) provides structure and colour, while Graciano contributes acidity and aromatic complexity.  The winemaking  Although she joined CVNE in 1991, María Larrea took over the winemaking for Imperial with the 2005 vintage, following on from Basilio Izquierdo, who had been running things for over 30 years (since 1973). Before Izquierdo came Ezequiel García, known as “El Brujo” (“The Wizard”), winemaker for CVNE for over three decades (he returned briefly in 2014 to recreate their legendary white, Monopole).  Across the three winemakers and almost 70 years, surprisingly little has changed. The winemaking here remains extremely traditional, although technology has allowed the team to monitor the wines more closely, and for better winery hygiene, as in most regions. Fermentation remains indigenous, although it’s no longer spontaneous – the wines have been inoculated with a selected strain of their indigenous yeast since the early 2010s (with some experiments in the 1990s). Traditionally fermentation was in concrete tank, however this moved to oak in the 1990s, with one lone vintage (1994) fermented in stainless steel when the vats hadn’t arrived in time.  The wines used to be stored in barrel and only bottled when they were sold, so some older vintages of Imperial spent over a decade in barrel, while today the wine normally stays in barrel for between two and three years. (The bottling dates for each of the vintages is included below – the 1947 wasn’t bottled until 1960!) Originally the oak was all American, simply because that is what they had access to via their historic trade routes, and the barrels were kept for decades (Larrea remembers using 40-year-old barrels when she arrived in the 1990s). CVNE gradually started introducing French oak in the 1980s, with around 30% French oak used in the 1990s and around 60-70% today, with the remainder American.   The wines: tasting eight decades of CVNE Imperial  A note on the bottles themselves: older vintages are in green glass, however they moved to brown glass around 10-15 years ago.  2018 Imperial Gran Reserva: This was a real highlight of the vertical. It is very youthful still, fruit-forward, yet with amazing finesse and delicacy. The nose is precise with dainty aromatics of spice, graphite and florals alongside the crystalline fruit. The palate is juicy and lithe, pure, silken and fresh with savoury tobacco and dried red berries filling the mouth-watering finish. Beautiful and very open, even now. Fermented in oak, 14% alcohol and bottled July 2021.  2017 Imperial Gran Reserva: Frosts swept across much of Europe in late April in 2017, although the rest of the season was relatively warm, producing a tiny crop of concentrated fruit. It’s a drastically different wine to the 2018, yet still with great freshness and a floral lift alongside ripe, sweet red fruit. The palate is tight, much less approachable than the 2018, with compact tannins, a bite of crunchy acidity and a grip of firm tannins, while smoky tones that fill the finish. Decant to enjoy now, but this will be even better with a couple more years in bottle. Fermented in oak, 14% alcohol and bottled July 2020.  2015 Imperial Gran Reserva: The 2015 Imperial is dark and intense, layered with rich bramble fruit, cedar, tobacco, spice and something meaty – a hint of biltong, perhaps. The palate echoes the concentration of the nose, with chewy tannins and a line of acidity that cuts through its intensity. Powerful, almost stern, with more dried fruit coming out with air, the finish is long and savoury, with a touch of red miso. Fermented in oak, 14.5% alcohol and bottled June 2018.  2011 Imperial Gran Reserva: Another standout in the vertical, the 2011 Imperial offers a dark and pure nose, still surprisingly primary with black cherry and cassis fruit, lifted by sweet spicy perfume. The palate is silken and pure, still so youthful, flowing across the tongue, framed by firm but integrated tannins. It’s concentrated and long, with floral aromatics dancing on the juicy finish. Hard to resist with great balance. Fermented in oak, 13.5% alcohol and bottled July 2014.  2009 Imperial Gran Reserva: This is a very serious Imperial now at a lovely stage of maturity – with savoury undergrowth and spicy notes sitting alongside the vibrant dark berry fruit. The palate is intense yet with a softness to it, despite the chewy framework of tannins. It’s juicy and expressive, with smoky, spicy, tobacco notes playing on the finish, and just the slightest hint of leather starting to appear. Fermented in oak, 13.8% alcohol and bottled January 2013.  2004 Imperial Gran Reserva: From “a textbook vintage” in CVNE CEO Victor Urrutia’s words, the 2004 is shining. Pencil shavings and bacon complement ripe, dark fruit. The palate is tight and compact, yet with a juiciness that elongates the whole thing, with acidity that drives through to the long finish. The tannins are supple and soft, integrated with the fruit, but still offer a grip on the finish. Bright and effortlessly balanced. Fermented in oak, 13.8% alcohol and bottled October 2008.  1994 Imperial Gran Reserva: This is an intriguing vintage of Imperial, the only one ever to have been fermented in stainless steel as they were switching from cement to wood, but the new vats didn’t arrive in time for the vintage. It was also served at the wedding of Spain’s Crown Prince, who later became King Felipe VI. After the 2004, this marks a shift towards wines dominated by tertiary notes, although there’s still plenty of fruit here. The nose is spicy with mushroom and undergrowth alongside incense and leathery tones. The palate is laden with umami – with fresh leather and dried berry fruit – as well as dried strawberries, supple tannins and refreshing acidity. Fermented in stainless steel, 13.16% alcohol and bottled June 1998.  1980 Imperial Gran Reserva: As CEO Victor Urrutia said, 1980 was “a shit vintage” – and has always been in the shadow of 1981 and 1982. Tasting the wine today, that’s probably fair – however it’s still an impressive wine. The nose has a distinctly herbal, menthol edge to the sweet fruit – macerated strawberries, with a balsamic hint. The tannins still offer bite, while the fruit shifts to darker, more bramble tones towards the finish. Fermented in concrete, 13.4% alcohol and bottled May 1985.  1970 Imperial Gran Reserva: The 1970 vintage was hot and produced powerful wines – earning it a reputation as one of Rioja’s finest vintages. After over 50 years, the wine is intensely savoury – combining soy, marmite and barnyard tones with intense, dark fruit. With air, the wine offers layers of spice (almost reminiscent of paprika), bacon frazzles and smoked almonds, complementing the concentrated core of fruit. It’s intense yet balanced, with bright acidity that keeps everything fresh and fills the long finish. Fermented in concrete, 12.97% alcohol and bottled March 1975.  1968 Imperial Gran Reserva: From a more difficult vintage, the 1968 Imperial has a charming nose that seamlessly combines savoury and sweet – with earthy richness that sits alongside incense-inflected berry fruit and a pleasing herbal note. The palate is elegant and vibrant, with plenty of fruit still driving through its core, while more savoury, smoky notes dominate the finish. Fermented in concrete, 12.7% alcohol and bottled April 1974.  1959 Imperial Gran Reserva: The 1959 vintage is another of Rioja’s most lauded, although I suspect this bottle was not showing its best. There’s a plushness and intensity to the palate, with a sharp drive of acidity, while the nose is dominated by leather, black liquorice and barnyard. Fermented in concrete, 13% alcohol and bottled February 1968.  1947 Imperial Gran Reserva: An amazing wine to tasted, the 1947 CVNE Imperial has a reputation – one that this bottle more than lived up to. Coffee and tobacco notes with bright fruit – ripe red cherry and raspberry, as well as florals, incense, black tea and sage, alongside smoky perfume. It’s long and fresh on the palate, seamless and fully resolved but pure and persistent, with a Bovril edge to the finish which is vibrant and long. Gorgeous now – drink it while you have the chance. Fermented in concrete, 12.4% alcohol and bottled August 1960.  Explore all CVNE listings, including a range of back-vintages of Imperial Gran Reserva, or read more Editorial 

Earlier this month, CVNE hosted a once-in-a-lifetime tasting of their Imperial Gran Reserva. Sophie Thorpe explores what makes the wine so special and how it has evolved over eight decades 

Exploring CVNE’s flagship Gran Reserva Rioja, Imperial, back to 1947 at a once-in-a-lifetime tasting with CEO Victor Urrutia 

Tasting CVNE’s Imperial Gran Reserva Rioja 2018-1947 

An icon through the ages: CVNE’s Imperial Gran Reserva 

As we commented in our 2022 report, vintages in Napa are, it seems increasingly defined by extreme conditions. The 2023 harvest, however, was – as Neil Bernardi MW, COO at Colgin described it – “remarkably unremarkable”.  “It was a calm and collected vintage,” said winemaker Cathy Corison, who has been making wine under her eponymous label since 1987. “There was nothing that forced your hand. It wasn’t too cold, it wasn’t too hot, it wasn’t rainy. We had the luxury of time.” For Corison, it was an exemplary vintage, easily one of her favourites – although she’s not quite ready to declare it the best vintage of her career (yet, at least). Corison is not alone in such praise: throughout the valley, whispers about 2023 have been growing louder, with the vintage felt by many to be one of the best in recent history.   Weather during the year was unusually cool at times, but largely uneventful. Looking back to the months before the growing season kicked off, however, Northern California received historic levels of rainfall. With a classic Mediterranean climate, the winegrowing regions of California experience warm, dry summers, with most rain falling between October and April.  In the drought years of 2020 and 2021, Napa received a scant eight and 10 inches of rain respectively. The 2022 vintage brought welcome relief, with 26 inches of rain measured in Oakville – just about average as measured against the past 10 years. Records were smashed in 2023, however, with an astounding 58 inches of rain measured between the close of the 2022 and start of the 2023 harvest. Local reservoirs were filled to the point of overflowing, and many vineyards in lower-lying areas were under water at points during the winter.   The rain stretched into May, punctuated by heavy fog and, with soaked soils and overcast skies, budburst was delayed by about two weeks. Although most winemakers on the valley floor reported excellent fruit set, resulting in higher-than-average crop loads, this was not the case everywhere. Up on Spring Mountain at Philip Togni Vineyard, winemaker Lisa Togni explained that incoming rainstorms reach this part of Napa first, and heavy cloud cover often lingers at peak level. Humidity and wind can hinder pollination, lowering the number of berries on each cluster. Yields at Togni, while not historically low, were much lighter than average in 2023. In stark comparison, Sam Kaplan, winemaker for Arkenstone and Memento Mori, reported having to thin “aggressively” during the growing season, with higher-than-normal potential yields thanks to large, perfectly formed clusters.   Springtime temperatures were cooler than average, a trend which would continue through the summer. In June and July, temperatures never exceeded 90°F (32°C) – highly unusual compared to every vintage in the past decade, and, while August warmed up slightly, there were zero major heat events. “Bad things can happen in the first week of September,” noted winemaker and viticulturalist Steve Matthiasson. Most Napa winemakers collectively hold their breath around Labour Day weekend, now notorious for heatwaves and wildfires. In 2023, however, extreme weather never materialised. Moderate, slightly lower-than-average temperatures persisted throughout September, and as the weeks ticked by, the fruit remained on the vine, slowly and steadily accumulating sugar and flavours.   For many producers, the biggest challenge of 2023 was being patient. Given the heat spikes in recent years, Togni said she was fully prepared for harvest by 15th August. Twice she scheduled pick dates only to call them off at the last moment when additional sampling showed that the ripeness was still not at the desired level. Finally, harvest began at Togni on 2nd October – a huge difference from 2022, when harvest started on 23rd August.   As the harvest season stretched on and temperatures remained steady, the potential for rain became worrisome. With fruit projected to be hanging in mid-October and even later depending on site, the chance of rainfall increased. This also did not happen. “Everything was just perfect,” said Myriad winemaker Mike Smith, noting that while the vintage conditions were certainly unusual for recent history, in many ways, they were a return to an earlier version of normal. “No one under 40 has probably ever seen a vintage like this. They’re more used to heat and drought,” he explains.  Smith started harvesting for Myriad on 5th October, which is about three weeks later than recent vintages. He wonders, though, if perhaps other winemakers kicked off harvest too early, which is something Kaplan pondered as well, citing a lack of mid-palate density in some of the wines he’s tasted – perhaps a result of looking at the calendar too intently, especially given recent harvest trends in Napa. Picking was still underway in early November at some addresses. At Colgin, Bernardi says that their patience paid off. “When we harvested, we felt like each vine was at the absolute apex of what it could give,” he said. “The alignment of sugars and phenolics was phenomenal.” He added that, at Colgin, the vine leaves started yellowing almost immediately after harvest, confirming their hunch that the fruit was fully developed and the vines ready to go dormant.   There were no concerns over yield – the plentiful water and cooler growing season not reducing crop size, and most brought in an above-average yield, especially on the valley floor. The quality of the fruit once harvested was uniformly reported as healthy, with multiple winemakers citing fresh, natural acidity levels and ample tannins. Smith loves the colour and density of 2023, noting that extraction was quick and easy, and the fermentation smooth. For Kaplan, a challenge was maintaining the body of the wine – handling the ferments in the winery to extract enough fruit to match the structure of the wine.   Many winemakers also praised the aromatics of 2023. In a hotter vintage like 2022, many of the delicate notes can be “baked out” of the wines, explained winemaker Tony Biagi of Patria and Hourglass. In 2023, Biagi said, the combination of red and black fruit, along with floral notes, has created highly perfumed wines. In his view, the 2023s offer “spectacular power and finesse”, with all “the stuffing” to be “a superlative vintage” – producing wines that will age for at least 30 years.  What may set the 2023 wines apart is the high level of “finesse and elegance,” as described by Andy Erickson of Favia. While he believes that 2023 may not be the most Californian vintage — at least by modern standards – the wines have a lithesome quality on the palate, balancing power and grace. This was a sentiment echoed by Bernardi, who praised the “sense of weightlessness” of the wines produced at Colgin, something he says only the greatest vintages can achieve.  Comparing the vintage to any other proves challenging. More than a few, including Matthiasson, said the weather during the growing season was reminiscent of 2011 – that is, without the October rains that ultimately caused a difficult harvest that year. Lisa Togni feels 2023 is more of a classic Napa vintage with moderate conditions, seemingly cool perhaps only because of the severity of the heat in recent years. Kaplan believes that the purity of fruit in 2023 is comparable to 2018, but even more pronounced. “The wines just jump out of the glass,” he said, “They’re so perfumed and aromatic.” For Corison, the very high level of quality of 2023 is reminiscent of 2001, which she said was similarly elegant and continues to evolve gracefully.  But is 2023 the vintage of the century, as the rumours might have it? Overall, the quality in 2023 is very high. After tasting through dozens of barrel samples, it’s clear that 2023 is a vintage where it was likely more challenging to make bad wine than good wine.  While we’re already looking ahead to 2023, more than a few winemakers lamented the quick dismissal of other vintages – perhaps overlooked in a rush of quick generalisations and soundbites. Quintessa’s Wineburg believes 2023 is undeniably a great vintage, however 2022 was also great – each year has its own personality that will appeal to different palates. For Erickson, the nascent 2024 wines (a vintage he’s particularly excited about) are more typically Californian in style with density and power, while 2023 will be defined by its finesse and restraint.  The 2023 vintage is outstanding – and the wines will appeal particularly to those with a classic palate. Given the late and long, cool growing season, many – if not most – of the wines have a distinct Bordelais quality, balancing pure Californian fruit with fresh acidity and elegant, nimble body – with “a sense of weightlessness” as Bernardi put it. The tannins seem poised to integrate well into the finished wines, and there’s a sense of restraint to many of the wines that is reminiscent of older Napa. The quality in 2023 is far more homogenous – in a positive way – than in recent challenging vintages, where site specificity and the ability to make quick decisions widened the field between those that faltered and those that excelled. “We’ve seen so much awfulness,” said Togni, referencing the challenges of 2020 and 2022, “but this was a nice reminder that not every year will be difficult: 2023 was a classic, great vintage – a storybook vintage.”   Napa 2023: the vintage in brief   Heavy rain over winter and through to spring replenished water reserves, with a long, cool growing season and late harvest  Yields were generally higher than average, especially on the valley floor  Quality largely consistent across the region  Cooler season with extended hangtime produced wines of elegance and finesse  Wines combine perfumed aromatics, fresh acidity and fine tannins, with a classic style reminiscent of the Napa of yesteryear  A top vintage – one of, if not the best in recent history  Keep your eye out for the first releases of Napa’s 2023 vintage. In the meantime, read more about California or browse all current Napa 2023 listings 

Since the fruit came into the winery, Napa’s winemakers have been quietly confident about the 2023 vintage – with murmurs of greatness. Now, as the first wines from the year are released, we find out whether the vintage is as good as the rumours suggest 

Is 2023 the vintage of the century in Napa? We talk to Corison, Colgin, Arkenstone, Tony Biagi, Steve Matthiasson and more about the year and its wines 

Discover the wines of the 2023 vintage in Napa, California 

Napa 2023: vintage report   

If there is one new constant in Napa, it’s that each vintage seems to bring extraordinary conditions – once-in-a-lifetime circumstances now occur with regularity.   In 2020, the historic Glass Fire erupted near the end of harvest, cutting power for many wineries, damaging vineyards, and meaning many producers didn’t release any wine, due to potential smoke taint. The 2021 vintage, on the other hand, was quieter with no wildfire activity; however, the lingering effects of a severe three-year drought caused reduced yields and the need for meticulous water management. Completing a trifecta of climate change issues, the theme of 2022 was neither smoke nor drought, but intense heat.   Unlike the unusually dry winters that preceded the 2020 and 2021 vintages, the winter before the 2022 vintage marked a return to normal rainfall totals. With over 18 inches of rain between the end of harvest and the start of 2022 alone, the three-year drought was broken. Steady rainfall continued into the early months of 2022 and, after a warm spring, budburst and flowering were slightly earlier than normal. The summer progressed in classic Napa Valley fashion, dry and warm, and the ample water levels led to healthy, well-developed canopies, unlike the previous two vintages. Though two minor heat spikes occurred in May and June, both were brief and too early in the season to have significant impact. All of this changed in the first week of September, however, when a major heatwave was predicted. While most white grapes were already harvested, the timing was critical for red grapes, the majority of which were approaching ripeness but needed additional hang time to achieve optimal flavour development and ripeness. The question every winemaker faced was: just how bad would the heat be?   Winegrowers had two choices: act conservatively and harvest whatever was close to maturity, or bet that the fruit would tolerate the heat. Of course, many variables influenced the choice, including vineyard elevation, vine age, access to irrigation and other heat-mitigation techniques such as misters and shade cloth. For later-ripening varieties and cooler sites, there was little choice but to endure the heat with fingers crossed.  For those who chose to wait, the heat spike was both longer and more severe than predicted – record-breaking, even. The first few days of September were hot – with peak temperatures ranging from 32-35̊C – but beginning on 4th September, daily temperatures soared over 38̊C for six critical days. In some lower-lying areas of the valley, historical records were shattered with temperatures surpassing 46̊C.  For winemaker Mike Smith of Myriad Cellars, the decision was stressful, as most of the fruit he works with, including from To Kalon and Dr Crane vineyards on the valley floor, were not fully ripe. Ultimately, he decided to wait. He likens this experience to facing a stronger team on the playing field, where no matter the outcome, the weaker team will become tougher as a result. Though he is pleased with the resulting wines, he says he still wonders what they would have been like if picked earlier.  Other winemakers didn’t wait for the heat to begin, but instead shifted their plans well in advance. At Philip Togni Vineyard on Spring Mountain, winemaker Lisa Togni says she “jumped the gun on harvesting”, starting on 23rd August – the earliest harvest ever in the history of the winery. She was able to harvest one-third of the property before the heatwave began and says the remainder was able to be brought in shortly after the heatwave ended, at optimal ripeness or slightly higher than normal.   When the heat dome settled over Napa Valley, however, some winemakers quickly pivoted. Winemaker Allison Tauziet of Colgin Cellars remembers she was in St Helena every night when the heat began, tasting in the dark, because she was so concerned about losing freshness. “I could sense flavors moving faster than I’d ever seen,” she says. Just a few days into the heatwave, Tauziet made the snap decision to pick all the fruit that was destined for the Cariad and Tychson Hill wines. “We nailed it,” she says, “We got maturity but didn’t sacrifice anything.”    Many small wineries with fewer resources, however, scrambled to find picking crews, as demand surged. As Lisa Togni points out, “Developing a relationship with pickers is critical. When you need them, you really need them.” Fermentation-tank availability was another major concern. With a suddenly very compressed harvest, not every winery had sufficient space to process the fruit.  Even with varied picking decisions, the multitude of microclimates and site variations in Napa Valley also affected outcomes. Elevation helps to mitigate heat, and this was the case on Howell Mountain at Dunn Vineyard, says winemaker Mike Dunn. Located 2,000 feet above the valley floor, temperatures were six or seven degrees (Fahrenheit) cooler, though still “incredibly unusual” and led to fruit with higher-than-average ripeness. He notes that a few of the 2022 lots at Dunn will likely be de-alcoholised, a technique famously adopted by his father Randy Dunn to keep the wines in balance and below his preferred maximum of 14% alcohol. At Sleeping Lady Vineyard in Yountville, a location “hard up against the Mayacamas mountains”, as described by Ad Vivum winemaker Chris Phelps, the natural shading that occurs from about 3pm onwards always shields the grapes from the hot afternoon sun – a feature that proved especially useful in 2022.  On September 10th, the heatwave broke, and just a week later, winemakers were presented with another potential challenge: nearly an inch of rain in one day. This, too, was record-breaking for the month of September, which typically sees little to no rain. The rain event was not enough to be impactful after the long, dry stretch of summer, says Mike Dunn, who instead described it as just enough to wash the dust off the grapes. On Pritchard Hill, the rain measured three quarters of an inch, but Tauziet says it was “not at all a big deal” for Colgin, and the days following were cool and dry, so mildew pressure was low.  Like Mike Smith, Dunn describes the vintage as a learning experience that will help form future decisions. He is considering a sorting table, which Dunn has never used before. “We are one of the few that are that primitive and that is intentional,” he says, noting that while he and his father’s goal has always been to avoid overly homogenous fruit, a vintage like 2022 made avoiding desiccated berries difficult. Similarly, the brutal heat caused Lisa Togni to decide to build a shade structure over the winery’s crush pad, which she describes as a matter of “human safety” in an increasingly warm region.   Other wineries have already adapted to hotter conditions and more frequent heat events. Up on Pritchard Hill at the Colgin estate, where the fruit is typically harvested later – and in 2022, after the heatwave – shade cloths are used across the entire vineyard. Tauziet adds that misters are used on blocks that are more vulnerable, including thinner-skinned Cabernet Sauvignon clones. Rather than irrigate the vine, the misters instead reduce the air temperature inside the canopy.  When it came to managing the fruit in the winery, it seems approaches varied, although the naturally high pH for later-picked fruit posed a potential ferment – with risks of stuck ferments and the associated problems. Many producers said they did little different, although – as mentioned – many emphasised sorting out any dried berries, but it’s a vintage where generalisations are difficult.  Increasingly extreme weather in Napa – whether from fire, drought or heat – makes vintage comparisons to 2022 difficult. Mike Smith sees some similarities with the heatwave at the start of harvest in 2017, however, which also led to opulent, rich concentration of fruit which he also sees in the 2022 wines. Lisa Togni reaches further back, to 1991, for a comparison, noting that it was a very ripe year that wound up evolving gracefully, while Allison Tauziet likens the texture of 2022 to 2002, for the “amazing expression of fruit”, and she doesn’t see any reason to disparage the wines. “It’s kind of shocking that I really like them,” she says, noting that, despite the stress of the vintage, “there’s a lot of what we’re always seeking: flavor, minerality and perfume.”  Coming after the highly structured 2021 vintage, which was marked by densely packed tannins, the 2022 wines are likely to please those seeking more immediate pleasure. The word “soft” is one that Chris Phelps uses to describe the wines but cautions that he doesn’t mean that in a derogatory way. “There is a natural hedonistic aspect the 2022s have had in spades since – or even before -- they left the fermenter,” he says. “The wine is fresh and has been charming since it was in juice form prior to fermentation. There's plenty of acid for vibrancy and tension, but with just a very slight touch higher pH.”  Most of the wines we’ve tasted so far share a bold style, with opulent layers of fruit and supple tannins. It’s important to note, however, that this is clearly not a homogenous vintage. Vineyard location and aspect were crucial, with higher elevations and those areas better shielded from the sun faring better. It’s clear that the line between fully ripe and overly ripe fruit flavours is razor-thin in this tricky vintage, with many wines showing notes of cooked, even desiccated fruit – not surprising, given the conditions. But collectors should certainly not be put off the vintage, as many other wines show excellent balance and a juicy, friendly exuberance that makes them very pleasurable even in their youth.  The 2022 vintage began as routine, but – in what seems be the new normal in Napa – shifted virtually overnight, forcing winemakers to make quick decisions based on their own unique location and combination of contributing factors. While the resulting wines will share some characteristics, the 2022s are formed by their microclimate, as well as the resources and quick decision-making skills of the winemakers. Lisa Togni also credits her successful harvest to another factor: sheer luck. Much like 2021, when fire licked the edges of the Togni property but spared her parents’ house and the winery, Togni is grateful above all else. “I feel for everyone who didn’t have the luck we did,” Togni says. “2022 was a reminder to be ever vigilant. You can’t relax even for a minute anymore.”    Napa 2022: the vintage in brief   Ample winter rainfall ended a three-year drought The bulk of the growing season was uneventful, with normal temperatures and rainfall  Beginning the first week of September, a record-breaking heatwave lasted six days  Yields are lower than average, though not as low as the drought-impacted 2021  Quality is heterogenous, with the wineries that were able to make quick picking decisions impacted less by the heatwave  The best wines are opulent, dense and concentrated, with a juicy exuberance that makes them approachable early  The 2022 wines from some estates are now being released; keep your eyes out for Schrader and Double Diamond, launching soon 

A year of extreme conditions, 2022 demanded much of Napa’s producers. Rachael Ryan – Senior Buyer for our US arm, Vinfolio – spoke to the region’s top producers about the vintage, reporting on the growing season and the wines 

Your essential guide to the 2022 vintage in California’s Napa Valley, with information from Togni, Ad Vivum, Myriad, Dunn and Colgin

Napa 2022 vintage report

Napa 2022: the bold and the brave 

A couple of years ago, I wrote a book called Time Tamed. In retrospect it is an ambitious title. Even at the time I realised as much, describing man’s efforts to tame time as being a task as Sisyphean as it is Canute-like. Humankind invented time to make sense of the world around us. It can be argued that an understanding of time – and the ability, however rudimentary, to track it and act according to it – is right up there alongside the ability to fashion tools and communicate using spoken language, as one of the characteristics setting humans aside from the other species with which our planet is shared. In the beginning at least, the extent of our relationship with time was a cognitive reaction to phenomena that permitted the prediction of cyclical seasonal events such as the migration of animals, and later forecasting the effect of variations in terms of temperature and daylight hours on the flowering and fruiting of crops.   The triumph of human intellect, and the beginning of our species’ march to its position at the apex of life on our planet, was to make conscious use of this intellectual edge that allowed us to benefit from the recurring patterns of events foretold by observation of such astronomical phenomena as the rising and setting of the sun, the waxing and waning of the moon, and the lengthening and shortening of the diurnal span. Lunar phases repeat themselves in a cycle of 29½ days; the tropical year as measured, say, from winter solstice to winter solstice (when the day is shortest and night longest) is approximately 365¼ days. The interaction of the solar and lunar calendars, providing, respectively, the year and the 12 months in it, gave us the framework upon which to build civilisation. “If time was conceived as the precise measure of an ordered succession of states, it should come as no surprise to find that its first criterion of measurement in every known civilization should have been the movement of the stars (which is both movement and return, in other words a ‘constant periodical appearance’)”, wrote Umberto Eco. He next posed the rhetorical question: “Even if there were nothing more to time than this, it would still be interesting to ask why, for so many centuries, men measured out the years, the months, and the days, but came so late to measuring hours and minutes. The main stumbling block was the need for mechanically precise instruments to measure them.” Calendars of varying degrees of sophistication have been in use for millennia. In my book, I wrote about a series of 12 fire pits in Scotland that – in conjunction with the known location of sunrise through a mountain pass on the morning of the winter solstice – functioned as a calendar in the Mesolithic period, 10,000 years ago. Compared to that, widely available accurate timekeeping is only a relatively recent phenomenon. Had you asked a medieval peasant the time, he would have probably told you what season it was and, as recently as the mid 19th century, time was measured according to local meridians that gave a local solar noon. Britain, at the time the world’s preeminent industrial power, only got its first real taste of unified national time in 1851, when millions visited the Great Exhibition, travelling from all corners of the Kingdom by trains that ran to a single national time. But in the last couple of centuries the pace has hastened: we have become, as Eco put it, “children of a clock civilization”, and I am sure there are those who would argue that it is from there that many of our problems have arisen.   The industrialisation of time was of particular interest to Karl Marx. “The clock is the first automatic machine applied to practical purposes,” he wrote to Friedrich Engels in 1863, “and the whole theory of production of regular motion was developed on it.” Even though abstract, time had become the ultimate economic commodity. Life became lived according to the maxim ‘time is money’ and with a Gradgrindian myopia we have concentrated on ever smaller divisions of time until we have become not children but slaves of the clock. Time was never tangible, but in the past it linked human experience to the cosmos through the tracking of solar and lunar cycles. The division of time into units that are independent of astral cycles has distanced us from the natural rhythms of life. Division of time into small units standardised around the world has facilitated the synchronisation of activities that enable us to live in our modern world of ‘just-in-time’ production, conurbations with populations of millions, and a network of integrated transport systems that allow us to travel from one side of the world to the other well within the span of a single day. It has taken the recent and as yet unresolved upheaval wrought upon our carefully organised world by the COVID-19 pandemic to reveal the humbling fragility of the system by which we live and regulate our lives. Moreover, one could argue that it is the application of monetised time that is responsible for the ravages that we have perpetrated on our planet in pursuit of our industrial goals. But before we blame the rise of the timepiece for the ills of the world, there is an aspect to watchmaking that can enable us to reconnect with the cosmos in a way that is familiar to those conversant with the world of biodynamic winemaking. So, when the editor of FONDATA suggested biodynamic winemaking as the prism through which to view watchmaking, I was intrigued. Once upon a time, a long time ago, I did work in the wine trade. However, we parted company during the 1980s, some time before biodynamic winemaking became what I believe is called ‘a thing’. Obviously, all readers of FONDATA understand the basic principles of biodynamics, but I needed to undergo a quick crash course in what is just one of the legacies of the quite extraordinarily colourful and at times controversial Rudolf Steiner; the late 19th- and early 20th-century Austrian philosopher, social reformer, writer, educationalist, editor, architect, spiritualist, scientific spiritualist, mystic, Goethe superfan, campaigner for the independence of upper Silesia – and much more besides. He came up with everything from a new, quasi-religious movement called ‘Anthroposophy’, to a new approach to medicine; a new artform, ‘Eurythmy’, to a new form of agriculture, ‘Biodynamics’. Steiner turned his fecund and agile mind to the problem of agriculture in the early 1920s and addressed many of the concerns that we are still grappling with a century later, advocating a sustainable ecologically-oriented approach to farming that eschewed chemical pesticides and fertilisers in favour of natural alternatives and conducting agriculture based on an astronomical and astrological calendar. Steiner is memorable because he could enliven even the relatively practical activity of growing things with woo-woo mumbo jumbo of a level to which even Gwyneth Paltrow can only aspire: for instance, burying manure in a cow horn over winter and then exhuming it; or controlling infestations of field mice by sprinkling fields with the ashes obtained by burning the skin of a “fairly young mouse” obtained “at a time when Venus is in the sign of Scorpio”. And yet, such was the power of his way of thinking that it would be wrong to characterise him as a total crank: Steiner was apparently taken seriously by Hitler as a threat to National Socialism.  But back to wine. Prima facie, there is little to link the joyous celebration and bounteousness of viniculture with the mechanical slicing of hours into minutes, into seconds into milliseconds. However, to view watchmaking as being just about the business of telling the time is to underestimate what is in my opinion one of the most engrossing areas of human ingenuity and creativity, where science, mathematics, mechanics and art meet. I like to think about watchmaking as being connected to the detection and calibration of rhythms and patterns … biodynamic farming is all about rhythms and patterns, especially those of the lunar calendar. In his writings, there are times when Steiner could be writing the script for Star Wars – when he talks of entering into “the forces that regulate growth, crucially the ‘fully-evolved Moon-force’”.  The Biodynamic Association uses less picturesque language to summarise the approach, saying that the philosophy of biodynamic farming is founded on “the influences of the moon, planets and constellations on plant growth”. “Each month the moon moves through all twelve constellations of the zodiac in turn. This is referred to as the moon’s sidereal cycle and forms the basis of the biodynamic calendar. Although the waxing and waning (synodic) cycle is the most well-known lunar rhythm, it plays a small part in this calendar.” The indication of moon phases has long been a feature of watchmaking, and even if knowing whether one is living under a waxing gibbous moon is not of primary importance to most of us, the function is undeniably decorative when artistically transferred to a watch face – the moon disc, often decorated with a background of stars, making a complete rotation once every 29½ days. Watches with more advanced astronomical functionality feature sidereal time as well. And this year, the long-established watchmaker Jaeger-LeCoultre demonstrated that it is capable of getting seriously cosmological. To celebrate the 90th anniversary of its famous Reverso model, it released the world’s first four-sided watch, the Hybris Mechanica Quadriptyque. As its name suggests the Reverso flips over to reveal its back. Initially conceived as a protective measure, more recently the back has been used to display other information (another time zone for instance). Now, the cradle in which the watch sits on the wrist has also been mechanised to offer two further planes for display – much in the way that one can connect multiple screens to a single computer rather than having to be constantly opening and closing windows. And Jaeger’s watchmaking wizards have turned faces three and four into a banquet of lunar information.  On the interior face of the cradle there are three displays giving the synodic cycle in the northern hemisphere, the draconic cycle (the height of the moon) and the anomalistic cycle (apogee and perigee, when the moon is respectively furthest from and nearest to the Earth), while the fourth side of the watch gives the synodic cycle in the southern hemisphere.   It sounds like an observatory on the wrist and according to the makers: “the Hybris Mechanica Quadriptyque can predict the next global incidence of astronomical events such as supermoons and eclipses – the world’s first wristwatch to provide such a deep reading of the cosmos.” I imagine even Steiner would be impressed especially as in biodynamic circles cosmological connections are crucial. Biodynamic agricultural activity is governed by knowledge of the behaviour of celestial bodies: ascending moon days favour certain agricultural activities while other tasks are better performed on descending moon days. Eclipses, apogee, perigee, and new moons all have their associated agricultural messages for the biodynamic farmer.   “It’s connected into the cosmos,” explains Philippa Hegarty of Hegarty Chamans, a vineyard in the foothills of the Montagne Noire in the Minervois. “We find an explanation that people respond to is; if the Moon has such a strong tidal influence then it can certainly move sap up and down a vine and that’s what we work with at different times of the year.” Providing timing of the movement of the tides is another function that the mechanical clock or watch can perform; indeed it is one of the oldest, predating the minute hand, the second hand, the wristwatch and even the pocket watch. The provision of times of high tide by a mechanical timepiece can be traced back to the 14th century and the famous Astronomical Clock designed by Richard of Wallingford, Abbot of St. Albans – which as well as showing the fixed stars and charting the movements of the sun and moon (complete with ecliptic nodes – another important feature for biodynamic winemakers) gave the times of the tides at London Bridge.   In fact, the technical leap forward accomplished by clockmakers in the 14th century rivals that of computer networks in our own time: at the end of the 13th century time was still being told by clepsydrae (like an hour glass but with water instead of sand) and by the middle of the following century, man was mapping the cosmos using mechanical machines of unimaginable complexity. If Giovanni de Dondi’s Astrarium of 1364 looks a little like a lunar landing module, then that was not the only thing it predicted. About a metre high and standing on protruding feet, the Astrarium featured seven panels with dials that showed the movements of the sun, moon and the then-known planets: Mercury, Venus, Mars, Jupiter and Saturn. Further dials indicated dates of fixed and moveable religious feast days, the intersections of the solar and lunar orbits, and time of sunrise and sunset. In comparison, the 24-hour clock seems prosaic, almost otiose. Another common feature of these miracle machines of the Middle Ages was the zodiac. Rather than being relegated to the horoscope section of the tabloid press, astrology was as much of a science as astronomy, and a medieval megaclock could not take itself seriously without a dial or two depicting the signs of the zodiac. The celebrated Three Kings Clock of Strasbourg Cathedral was no exception. As well as its astrolabe dial, ecclesiastical calendar, carillon mechanism that filled the air with religious music, and the automata that replicated the nativity, an illustrated panel linked signs of the zodiac to body parts, connecting human health with the movements of the celestial bodies, thus indicating propitious or hazardous times for that key medical procedure of the times: bloodletting. The influence of the zodiac constellations is an important part of the biodynamic playbook. “Since ancient times the twelve zodiac constellations have been associated with each of the four elements: earth, water, air and light,” observes the Biodynamic Association. “Three constellations are connected to each element, and each element is related to a part of the plant: thus, Earth – root; water – leaf; air – flower; fire – fruit.” “For example, for sowing or harvesting carrots, an earth – root day should be chosen; for lettuce, a water – leaf day; for beans and apples, a fire – fruit day; and for flowers and broccoli, an air – flower day.” As the example of the Jaeger-LeCoultre Hybris Mechanica Quadriptyque shows, thanks to the technological advances that have accrued during the last 20 or 30 years, the miracle of modern mechanical watchmaking is that it is able to miniaturise cosmological functions and place them on the wrist. Recent years have seen some truly spectacular wristwatches enter the market. Patek Philippe’s double-faced Sky Moon Tourbillon is regarded as one of the trophies of modern watchmaking: featuring minute repeater with ‘cathedral gongs’; tourbillon; perpetual calendar with retrograde date hand; day, month, leap year in apertures; hours and minutes of mean solar time; moon phases; and on the reverse, moon-focused watch face, sidereal time, sky chart, and phases and orbit of the moon. Van Cleef & Arpels caused a stir when it released a watch that condensed the workings of a planetarium onto the wrist with a watch charting the movement of the five planets visible to the naked eye from Earth: Mercury, Venus, Mars, Jupiter and Saturn; each planet orbiting on its own disc in its real rotation time. Blancpain, meanwhile, has tackled the notoriously complex lunisolar Chinese calendar to create a watch that displays the ten celestial pillars, the five celestial elements, the phases of the moon, the animal associated with the year and the date as given by the Gregorian calendar. I am neither watchmaker nor winemaker, but given the approaching centenary of Steiner’s 1924 series of agricultural lectures which gave birth to biodynamics, now might be a propitious time to consider a mechanical timepiece that displays the cosmological information pertinent to biodynamic viticulturists and farmers. This article was originally published in FONDATA, Issue Two.

Author and writer Nicholas Foulkes reflects on how modern horological advances are resulting in some exquisitely made timepieces that look to display increasingly complex celestial information pertinent to a surprising demographic – biodynamic farmers.

Delve into the intricate connection between humans and time. From celestial rhythms to watchmaking marvels, uncover the ties that bind.

Exploring Humanity's Complex Relationship with Time

Celestial Movements 

To Kalon. For any Californian winemaker, those two words represent the Holy Grail. This vineyard in Oakville, Napa, is undeniably the region’s most famous. Perched at the foot of the Mayacamas, west of Highway 29, this site has been recognised for producing fine wine since the 19th century. Literally translating as the “highest beauty” or “highest good” from Greek, today To Kalon is home to some of Napa’s oldest vines and best Cabernet Sauvignon. “This is a Grand Cru – a premier property,” Paul Hobbs tells me, a winemaker who has a long history with the site. As a grad student at UC Davis, Hobbs would swipe the second crop from a vineyard on Walnut Drive – what happened to be BV4, Beaulieu Vineyard’s original block of To Kalon. At Mondavi – the largest holder of the hallowed site – he got to walk the rows more legitimately, and used those holdings to build Opus One – the company’s joint venture with Ch. Mouton Rothschild (although the association with the site has generally been played down). Under his own label, he’s been making wine from the Beckstoffer section of the vineyard since 1999 – and his wines, along with those from Schrader, were some of the early bottlings that put the vineyard firmly on the fine wine map, earning high scores – and lots of attention. Indeed, it was a Paul Hobbs wine that made Tor Kenward believe the vineyard was truly special. André Tchelistcheff had spoken to Kenward about BV4, but it was one of Hobbs’s bottlings that made him realise its potential. He started working with Beckstoffer plots from 2005. 
“It’s not visually impressive; it doesn’t have that ‘wow factor’,” Kenward tells me. But start digging below the surface, and you realise that you’re in the “tenderloin of Napa”, with old creek beds that run through the site. It’s an alluvial fan that runs down from the Mayacamas, sitting almost on a bench – with very little elevation. But the soils here are varied, with deep, well-drained gravels that make it perfect for Cabernet Sauvignon.  Andy Erickson – a winemaker whose resume includes Screaming Eagle, Harlan, Dalla Valle, Mayacamas and many more – first worked with the site in 2012, on a single-barrel charity lot for an auction at his children’s school. When Constellation (owners of Mondavi and co-owners of Opus One) called him to give him the chance to work with it again in 2016, he didn’t hesitate. That year, he made the first wine for the To Kalon Vineyard Company – a project that is a revival of the brand created by H.W. Crabb (known variously as Henry Walker, Hiram Walker or Hamilton Walker Crabb) in 1886, the vineyard’s godfather. “Most people know the recent history of the vineyard, and the acclaim of the wines from the past 15-20 years. But the vineyard was known for producing remarkable wines all the way back in the late 19th century. Clearly there is something there,” Erickson says.  But this vineyard is weighed down with controversy – its borders endlessly debated, with producers vying for use of the To Kalon name.  The history of the To Kalon Vineyard It’s impossible to look at To Kalon today without tracing its origins. H.W. Crabb came west from Ohio during the Gold Rush, spending six months digging in the Sierras before settling in Oakville in 1868, buying 240 acres of land at the corner of Highway 29 and Walnut Drive. He planted a wide range of crops, first making wine in 1872 under the name Hermosa Vineyards (“hermosa” meaning “beautiful” in Spanish). In 1881, he acquired another 119 acres from Eliza Yount (whose name lives on in Yountville). On land to the west of his plots, owned by John Davis, he planted additional vines – buying the fruit off Davis to feed his increasing production. In 1886, he gave his company a new name: “To Kalon Vineyard Company” – and the legend was born. Crabb reportedly said, “The name To-Kalon… means the highest beauty, or the highest good, but I try to make it mean the boss vineyard.”
 To Kalon Vineyard Company rapidly became one of the region’s largest – and most well-respected – wine producers. His wines started winning awards at competitions around the world, and he was the first to start selling wine along the East Coast. He had planted a huge range of grapes – around 400 different varieties, including Malvasia, Riesling, Chasselas, Muscat, Refosco and Cabernet Sauvignon, with the latter in particular thriving. In 1889, he bought 168 acres on the hillside to the south, close to where Harlan is now based, although it was never planted with vines during Crabb’s lifetime. In 1891, Crabb bought Davis’s 135 acres (from which he’d already been buying the fruit). In total, Crabb had more than 359 acres.  But his success wasn’t to last – phylloxera arrived in the late 19th century, and recession along with it. In 1898, Crabb sold the 135 acres he’d bought just eight years earlier – and died one year later in 1899. The vines were ripped out, replaced by cherry trees under David Perry Doak in 1911, who in turn purchased another 500 acres of vines from John Benson, south of the border of the original To Kalon (across Oakville Grade Road), which is now all owned by Constellation (used for Mondavi or Opus One). After Crabb’s death, what remained of the To Kalon Vineyard Company was sold to ES Churchill at auction, taken over by his widow Mary Churchill when he died in 1903. Wines continued to be sold under the label until the arrival of Prohibition in 1920. The winery reopened briefly to sell wine in bulk in the 1930s, but the winery building burnt down in 1939. Four years later, Martin Stelling bought most of the property – 337 acres – and replanted. He sold 90 acres to Beaulieu Vineyard (the block that became known as BV4 – and was the plot used by André Tschelistcheff made Georges de Latour Reserve). In 1944, Stelling bought an additional 1,700 acres – the McGill Ranch, which included the parcels owned by Doak (both Crabb’s 1891 parcel and the 500 acres area south of Oakville Grade Road). He named the entire property Tokalon Vineyards, and in 1945 planted Sauvignon Blanc in I Block – the legendary parcel that is today used for Mondavi’s prized, old-vine To Kalon Fumé Blanc.  Tragedy struck again, however, with Stelling killed in a car crash in 1950. The property was once more divided, sold off in pieces by his widow.   
Rosa Mondavi, along with her sons Robert and Peter, purchased 132 hectares in 1962 for the family winery, Charles Krug. After Robert struck out on his own, he bought 12 acres for himself in 1966 (that remained in the Stelling family) – in the northeast corner of the 1968 Crabb parcel, where the Mondavi winery and visitor centre remains today. He bought a further 230 acres in 1968, and then took the Charles Krug section from the rest of his family in 1978. The first time the To Kalon name appeared on a Mondavi label – and the first time since the demise of the To Kalon Vineyard Company – was on the 1986 Fumé Blanc Reserve. The I Block – the Sauvignon Blanc vines planted by Stelling in 1945 – were singled out for the first time in 1995, for the vines’ 50th anniversary. The first red – Mondavi’s To Kalon Reserve Cabernet Sauvignon – appeared with the 1997 vintage. The To Kalon Vineyard’s terroir As already mentioned, To Kalon is largely an alluvial fan that stretches down from the Mayacamas to Highway 29. It is, however, a large piece of land (the exact area depending on where you draw its borders – see below for more on the controversy around this) – and as such the terroir varies considerably. The soils are richer downslope, closer to the Highway; poorer and better-drained higher up (where many – including Hobbs and Kenward – prefer to be). The gravel composition varies with the subtle slope differences and underground water.  “It’s like any cut of meat – there are better parts than others,” Hobbs says. With over 300 original acres (at least), this is a substantial vineyard (for comparison, Clos Vougeot is 125 acres). “It’s great if you have the name To Kalon, but could be pretty average stuff.” The Beckstoffer section is numbered and lettered: A to F, from road to mountain, with A1 south of A2. For Hobbs, he likes the blocks closer to the mountains, and those that aren’t shaded by the huge walnut trees that line Walnut Drive (to the south). Hobbs noted how much warmer Oakville is than Yountville – something he used to notice when driving in the evening home from Oakville to Yountville. The mountains block the sea breezes, meaning that the cooling effect happens, but more slowly. This is partly what makes it such a special place. Tor Kenward similarly prefers some of the middle blocks in B and C, where there are some of the vineyard’s oldest vines, but with lower vigour, as well as the leaner soils closest to the mountains. As for the MacDonald or Horton block: “You could argue it’s every bit as good as Andy’s piece,” Kenward says. It, along with the Detert block, was planted in the 1940s – and in fact those two blocks are now home to some of the valley’s oldest vines. Even closer to the mountains, the gravel content is even higher, and the fruit is picked up to a month earlier than elsewhere in To Kalon. Although until now most of that fruit has been sold to Constellation, there will be opportunity for others to work with it as that contract comes to an end.   
The Beckstoffer plots of To Kalon Andy Beckstoffer bought Beaulieu Vineyard’s block, BV4, in 1993. He’d just lost a prized site – Liparita, on Howell Mountain – when the 89 acres of BV4 came up. He’d worked the site for years and leapt at the opportunity to buy it. “It’s a mystery to me why they sold it,” Paul Hobbs told me, although word on the grapevine was that they needed to liquidate funds – indeed, it was around the same time that Mondavi went public for similar reasons. Phylloxera was once more raging through the region thanks to the widely used, non-resistant AXR rootstock.  The BV4 block was in bad shape when Beckstoffer took it over and he had to replant the entire site. Paul Hobbs was one of the first to use fruit from Beckstoffer’s plots, starting to work with him from 1995/96. “Andy didn’t really realise he had a Grand Cru property,” Hobbs says. Hobbs was given free rein to pick his plots, opting for four or five plots on the western side, furthest from Highway 29. The vineyard produced its first fruit in 1997; 1998 was a difficult year; but in 1999 Hobbs was able to produce his first To Kalon bottling (although it couldn’t say so on the label). “I was loathe to tell people how young it was – but the quality was so good,” Hobbs says, still starry eyed thinking about it. “It was only four years old, but producing stunning wines.” Most fruit is sold on its weight, by the ton, but Andy Beckstoffer created a different model – one that is intricately tied to the vineyard’s name and reputation – and arguably has increased its reputation. Producers who use his fruit pay him 175 times the bottle price per ton, with a ceiling at $50,000/ton; tying the value of the fruit to the value of the final wine. “For producers like me in those days, when I didn’t have the land or ability to buy land, Andy was a saviour of sorts,” Hobbs tells me. “Because I had access to one of the top vineyards in all of Napa. I had to pay – but at least I had access.”
  The To Kalon controversy: how big is it? And is it a brand or a place? Mondavi trademarked the name “To Kalon” in 1988, and “To Kalon Vineyard” in 1994. This gave them the right to use the name on any wine from anywhere – even beyond California – and meant that no one else could use the name, even if they had plots in what was considered the original To Kalon vineyard. The first Beckstoffer bottlings only mentioned the name on the back label; but in 2000, Schrader decided to put it on the front label. The now famous lawsuit commenced. “They shouldn’t have been able to trademark it,” Hobbs tells me. “Anyone from the original To Kalon estate should have the right to the trademark as well.” In 2002, Mondavi sued Schrader for using the name on their Beckstoffer bottling. Countersuing ensued, from both Schrader and Beckstoffer (the latter arguing that Mondavi was misleading clients by using the name for wines made with fruit from beyond the vineyard’s original borders). A settlement – the details of which remain a mystery – was made in 2003, but wines made from the Beckstoffer section can now bear the name “Beckstoffer To Kalon”.  Constellation bought Mondavi in 2004, and then Schrader in 2017. Reportedly attempts were made to trademark “To Kalon Wine Company”, “To Kalon Vineyard Company” and “Rooted in To Kalon” – something, unsurprisingly, that Beckstoffer objected to. The legal battle continues today, with a fight over the naming of To Kalon Creek, and The Vineyard House – owned by Jeremy Nickel, which sits on the 1889 hillside section – arguing for the use of the name as well.  The borders of the vineyard are a constant source of debate – and given the history above, you can see why.  Andy Beckstoffer considers the original To Kalon to be only the parcels bought by Crabb in 1868 and 1881. The 1889 parcel was never planted by Crabb, so most aren’t inclined to include it as “original To Kalon”. The Detert and MacDonald plots, however, aren’t acknowledged by Beckstoffer, but were planted – and, albeit more briefly than other plots, owned by Crabb. Then there’s the “Stelling extension”, the southern section added after Crabb’s death under Martin Stelling, that Mondavi considers part of the original vineyard, but some others do not. Given the sums fruit – and wine – bearing the To Kalon name command, it’s unsurprising that its usage is so disputed.  
To Kalon: what does the wine taste like?  So what makes the wine so special? Why do winemakers fight for the fruit, and consumers for the bottles they produce? Despite the sheer variety of the site, Tor Kenward is adamant that there’s a continuity, with a profile that that site gives Cabernet. He describes it as “wall-to-wall carpeting”, a plushness to the mid-palate, a softness, that means the Cabernet isn’t hard-edged. “There’s something about the ground there,” Andy Erickson agrees. For him, To Kalon has a distinct tannin texture – not as rugged as hillside sites, but richer, with a generosity in the wines. “They are dark, aromatic, but very broad and polished,” he says. “I think the vineyard brings forward many of the complexities of Cabernet Sauvignon, but delivers it in a very approachable and elegant package.” “It’s very identifiable,” Paul Hobbs says. “It’s a structural and textural thing mostly. It’s a freshness to this sort of tannin. It has grip, but it has this uplifting character.” He explains it like a skipping stone – you think you’ve got it, then another wave comes, the wine shifting on the palate. For him, one of the most distinctive things is that Cabernet sings alone here – much better than blended with other varietals. “It didn’t need the help of its brothers,” he says. “It’s a wine that’s at peace with itself… It doesn’t shock you, except in its beauty.”
 Who owns what today in To Kalon? Robert Mondavi: From the original 12 acres, Mondavi now owns 328 acres of To Kalon, including the Stelling extension. Has the rights to use the To Kalon name.  Opus One: The 35-acre Q Block was sold to the joint venture by Mondavi in 1981, with K block acquired in 2008. Although under Constellation’s ownership they could likely use the To Kalon name, Opus One doesn’t trade on this. (To Kalon Vineyard Company uses fruit from Constellation’s holdings, both Opus One and Mondavi plots.) UC Davis: a research block that was key in developing phylloxera-resistant rootstock
Beckstoffer: 89 acres, with fruit sold to a range of producers (currently 23), including Paul Hobbs, Tor Kenward and Schrader. Producers can use the name “Beckstoffer To Kalon” on their labels. MacDonald (sometimes referenced as Horton): Graeme and Alex MacDonald are the current generation, owning 21 acres of the 1891 parcel. When their great-grandparents bought the site in 1954 (along with the Detert plot – see below – from Caroline Stelling, Martin Stelling’s widow) it was planted with cherry trees. Advised by Robert Mondavi, the MacDonalds planted vines. From 1966, they sold grapes to Mondavi – holding some back for personal use from 2004, with the first MacDonald commercial release in 2010 (just 92 cases). Although historically 75% of production here has been sold to Mondavi, I’m led to believe that the contract is coming to a close and won’t be renewed. The MacDonalds can’t use the To Kalon name on their wines currently. Detert: Today owned by Tom Garrett, a cousin of the MacDonalds. This 25-acre plot was bought in 1954, along with the MacDonald parcel – divided between the buyers’ children giving the two plots today. There’s more Cabernet Franc in this section. Most of the fruit is sold to Mondavi (with the contract, as for MacDonald, coming to an end soon), and Detert can’t use the To Kalon name on their wines. The Vineyard House: Many dispute whether or not this is original To Kalon; it’s on the hillside area purchased (but not planted) by Crabb in 1891. This plot is owned by Jeremy Justin Nickel, who is the son of the late Far Niente proprietor Gil Nickel. It’s thought to have first been planted with vines in 1980. They can’t use the To Kalon name on their wines, but have taken court action over the issue.  Wineries with To Kalon bottlings  NB Not all of these will bear the To Kalon name on the label Mondavi Winery, Opus One, To Kalon Vineyard Company, MacDonald, Detert, Alpha Omega, Amici, Alejandro Bulgheroni Estate, AXR, Bacio Divino, B Cellars, Boich Family, Bounty Hunter, Cain Concept, Carter cellars, Ch Boswell, Jacquelynn, Kitchak, Cliff Lede, Morlet, Realm Cellars, Tor Kenward, Paul Hobbs, Schrader Cellars Read more Editorial 

The Napa Valley has many incredible vineyards, but To Kalon undoubtedly sits at the top of the tree. As the To Kalon Vineyard Company releases their latest vintage, Sophie Thorpe delves into the story of this iconic site – from its 19th century origins to the fight to use its hallowed name

Explore the history of To Kalon vineyard – and what makes it such an iconic site today. We spoke to Andy Erickson, Paul Hobbs and Tor Kenward to find out more

The tale of Napa’s iconic To Kalon vineyard

The tale of To Kalon

Cathedral Mountain

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